A   MANUAL 


OF 


WEAVE   CONSTRUCTION 

A  SYSTEMATIC  ARRANGEMENT  AND  EXPLANATION 

OF  THE   FOUNDATION   AND   DERIVATIVE 

WEAVES  FOR   HARNESS  LOOMS 


IVO   KASTANEK 

Professor  of  Designing  and  Weaving  at  tfie  Royal  Textile  College,  Brunn,  A  nstria 


TRANSLATED   AND   ARRANGED   FOR    AMERICAN    AND   ENGLISH 
PRACTICE   BY 

SAMUEL  S.   DALE 

Editor  of  the  "Textile  World"  Boston,  Mass. 


OVER   500   ILLUSTRATIONS  AND  DIAGRAMS 


PUBLISHED    BY 

GUILD   &    LORD,  BOSTON,  MASS. 
(PUBLISHERS  OF  THE  "  TEXTILE  WORLD  ") 


COPYRIGHT,  1903 

BY 
GUILD  &  LORD,  BOSTON 


TRANSLATOR'S  PREFACE. 


The  following  pages  contain  the  first  systematically  clas- 
sified treatise  on  weave  construction  to  be  published  in  the 
English  language.  The  weaves  are  divided  into  the  three 
general  classes,  plain,  twill,  and  satin ;  under  each  of  these 
divisions  are  given  rules  for  constructing  derivative  weaves, 
which  are  illustrated  with  over  500  drafts,  diagrams,  and  illus- 
trations of  cloth  samples. 

The  object  of  the  work  is  to  give  in  as  few  words  as  possi- 
ble a  comprehensive  treatise  on  weave  construction.  The  in- 
formation it  contains,  once  acquired,  will  enable  the  student 
to  construct  derivative  weaves,  of  which  the  number  is  unlim- 
ited, to  suit  requirements  as  they  arise. 

The  distinctive  features  of  the  book  are  :  — 

1.  Systematic  Classification. 

2.  Concise  and  Clear  Explanations. 

3.  Illustrations  of  both  Weave  Drafts  and   Cloth  Sam- 
ples. 

For  self-instruction,  the  workers  in  the  mill  who  are  de- 
prived of  the  opportunity  to  attend  a  textile  school  will  find 
it  of  great  value.  It  will  be  found  equally  well  adapted  for 
the  practical  weaver  and  the  student,  for  the  mill  as  well  as 
for  the  school. 

SAMUEL  S.  DALE. 
BOSTON,  Feb.  20,  1903. 


271656 


TABLE  OF  CONTENTS. 


Basket  or  Panama  Weaves 

Boucle,  Imitation 26 

Braid 2 

Catch  Thread  in  Selvage 8 

Checkerboard  Weaves 86 

Checks,  Irregular 88 

Color  Effects 78 

Color  Effects  by  Transposing  Twills 58 

Corkscrew  Weaves 68 

"  "        Figured 71,76 

"                 »        Filling 68 

"                "       Irregular 70 

"                "        Mosaic        71 

"                 "        Stitched 72 

"                "        Warp 68 

Cotton  or  Plain  Weaves 6 

Crepe  Weaves 74 

Design  Paper 3 

Dobby  Loom 5 

Double  Beam  Warps 99 

Drawing-in  of  Filling  at  Selvage        '.     .     .     .     .  8 

Drawing-in  Drafts 80 

"               "     Broken 82 

"               "     Cross        82 

"                "     Divided 82 

"               "     Double 82 

"               "     Grouped 82 

"                "     Intermittent 82 

"               "     Manifold  or  Corkscrew 82 

"               "     Pointed 82 

"               "     Satin  or  Scattered 82 

"               "     Straight 82 

Effects  by  Changing  Position  of  Colors 56 

Fabric,  Set  of 40 

"        Spongy 40 

Face  Goods       34 

Felt 34 

Filling 3 

Gauze 


TABLE    OF    CONTENTS  Vll 

PAGE 

Ground  Weaves  and  their  Derivatives 6 

Hairlines        92 

Harness  Frames 5 

Heddles 5 

Honeycomb  Weaves 90 

Introduction I 

Jacquard  Motion 5 

Knitted  Fabrics 2 

Lace 2 

Leno 2 

Mails - 5 

Motives 100 

Panama  or  Basket  Weaves 8 

Paper 2 

Pattern 3 

Pin  Checks 84 

Plaids 99 

Plain  or  Cotton  Weaves 6 

Plain  Weaves,  Color  Effects  by  Transposing 32 

Plain  Weaves,  Figured 24 

Plain  Weaves,  Interlaced  Effects  in 28 

Prints  on  Design  Paper 4 

Rib  Weaves 10 

"           "       Cross       .     .     • 10 

"           •'       Cross  and  Long  Combined 20 

"           "       Extra  Stitching  Threads 16 

"       Figured 18 

"           "        Irregular 14 

"           "        Long 10 

"      Mixed 10,  12 

"          "       Mixed  Long 12 

"           "       Plain  (cannele) 10 

"           "       Selvage  for       . 12 

"           •'       Stitched 16 

"       Stock  for 12 

Satin  Weaves 62 

"            "       Drafting 62 

"  "        Irregular 62,  64 

"           "       Regular 62 

Shaded 62 

Stitched 62,  66 

"           ••       with  Two  or  More  Rising  Numbers 64 

Shafts 5 

Single  Weave,  Variation  of 94 

Take-up 97 

Tension,  Uneven 97 

Twills 34 

"      Angle  of 34 


Vlll  TABLE    OF    CONTENTS 

PAGE 

Twills,  Angle  of  Dovetail 53 

"      Balanced 34 

"      Batavia 36 

"      Broken 50 

"      Combination 44 

"       Cross  Zigzag 55 

"      Cross  or  Zigzag 54 

"      Curved 48 

"      Deflected     . 48 

"      Diagonal 55 

"      Dovetail 52 

"      Fancy 42 

"      Fancy  Filling 46 

»       Felt 38 

"      Fish  Scale 46 

"      Influence  of  Yarn  Twist  on 34 

"      Long  Zigzag 55 

"       Normal 36 

"      Rib 45 

"      Shaded 43 

"      Steep 38 

"      Stitched 40 

"      Undulated 48 

"      Wide  Diagonals  from 52 

Warp 2 

Warp  Satin  Weaves,  Figured 76 


INTRODUCTION. 


A  treatise  on  weaving  may  be  divided  into  three 
parts : 

1.  Intersection   of  two   sets   of   threads   forming   a 
woven  fabric; 

2.  The  dissection  of  a  woven  fabric  to  determine  the 
method  by  which  its  two  systems  of  threads  are  inter- 
laced ; 

3.  The  mechanical  operations  by  which  yarn  is  con- 
verted into  a  woven  fabric. 

The  first  division,  relating  to  shaft  weaving,  will  form 
the  subject  of  the  following  pages,  and  only  such  fabrics 
will  be  considered  as  are  made  by  the  simple  interlacing  of 
two  sets  of  threads  running  at  right  angles  to  each  other, 
such  as  the  one  illustrated  at  Figs,  i  and  la. 

By  this  limitation  in  the  scope  of  our  treatise,  a  num- 
ber of  fabrics  will  be  excluded  from  consideration,  among 
which  may  be  mentioned  : 

i.  Knitted  fabrics,  formed  by  the  successive  looping 
of  one  thread,  Figs.  2  and  2a; 


INTRODUCTION 


2.  The  various  kinds  of  lace  and  braid;  these  are 
formed  by  intersecting  several  systems  of  yarn  at  various 
angles  to  each  other,  Figs.  3  and  4; 

3.  Felt,  paper  and  the  like,  which  are  formed,  not  by 
intersecting  threads,  but  by  the  matting  together  of  indi- 
vidual fibres. 

Gauze  or  leno  fabrics,  Figs.  5  and  5a,  will  be  treated 
in  another  work. 


Fig.   i. 


Fig.  la, 


In  a  fabric  composed  of  two  sets  of  yarn  intersecting 
each  other  at  right  angles,  the  yarn  running  lengthwise  of 
the  cloth  is  called  the  warp;  that  running  crosswise,  the 


Fig.  za. 


Fig.  2. 


INTRODUCTION 


filling,  weft  or  woof.  The  fabric  is  formed  by  bringing 
each  warp  thread  alternately  above  and  below  the  rilling 
threads  in  a  predetermined  order  covering  a  certain  num- 
ber of  threads  called  the  pattern. 

The  plan  or  draft  of  a  weave  is  sketched  on  design 
paper,  Fig.  6  (8  by  8),  Fig.  7  (8  by  14),  Fig.  8  (8  by  16), 
Fig.  9  (10  by  10). 


Fig.  5- 


Fig-.   S 


The  space  between  two  adjacent  upright  lines  repre- 
sents a  warp  thread,  and  that  between  two  adjacent  hori- 
zontal lines  a  filling  thread. 


INTRODUCTION 


At  the  intersection  of  a  warp  and  a  filling  thread,  un- 
less otherwise  stated  (X),  (•),  (II),  or  (=)",  indicate  that  the 
warp  is  above  the  filling,  and  a  white  square  that  the  warp 
is  under  the  filling. 


Fig.  6. 


Fig.  7 


Fig.  8. 


Fig.  9. 


The  ratio  of  the  number  of  upright  lines  to  the 
number  of  horizontal  lines  per  inch  depends  upon  the 
threads  of  warp  and  filling  per  inch  in  the  goods.  In  most 
cases  design  paper  with  an  equal  number  of  lines  per  inch 
in  each  direction  is  used. 


INTRODUCTION 


To  facilitate  the  reading  of  the  draft,  one  line  is  made 
heavier  than  the  other  at  regular  intervals. 

In  weaving,  the  warp  threads  are  arranged  in  lines 
parallel  to  each  other  and  lying  in  one  plane;  they  are 
drawn  through  the  eyes  of  bed  dies  or  mails,  which  are 
supported  either  in  harness  frames  (shafts)  or  by  cords 
connected  with  hooks. 

All  warp  threads  that  intersect  the  filling  threads  in 
the  same  order  can  be  operated  by  the  same  shaft  or  hook, 
consequently,  there  must  be  at  least  as  many  shafts  or 
hooks  as  there  are  threads  intersecting  the  filling  in  a  dif- 
ferent order.  In  practice,  more  shafts  or  hooks  are  used 
for  the  warp  than  the  weave  actually  requires.  There 
must  be  as  many  filling  spaces  or  bars  in  the  weave  draft 
as  there  are  threads  in  the  filling  pattern. 

The  order  in  which  the  warp  threads  are  drawn 
through  the  heddles  is  called  the  drawing-in  draft.  When 
the  pattern  is  small  enough,  it  can  be  woven  on  what  is 
called  a  dobby  loom,  which  has  but  a  small  number  of 
shafts. 

If  the  pattern  is  larger  than  can  be  woven  on  the 
dobby  loom,  a  jacquard  motion  is  employed.  The  num- 
ber of  different  effects  or  designs  that  can  be  made  in- 
creases with  the  number  of  threads  in  the  pattern. 

Weaves  are  classified  under  a  number  of  sub- 
divisions, each  having  a  typical  or  ground  weave  from 
which  others  are  obtained  by  systematic  alterations  or  by 
combination  with  other  ground  weaves. 


Ground   Weaves   and   their   Derivatives. 


PLAIN    OR    COTTON    WEAVE. 


This  is  a  weave  in  which  the  intersection  of  the  warp 
and  filling  is  repeated  at  each  second  thread,  making  the 
number  of  intersections  greater  than  in  any  other  weave. 

Fig.  10  is  a  plain  weave;  Fig.  loa,  the  cloth  woven 
with  it.  One  repeat  of  the  weave  shown  in  the  lower  left 
hand  corner  of  Fig.  10  is  indicated  by  (x). 

The  position  of  the  warp  and  filling  threads  is  best 
shown  by  sectional  plans  of  the  cloth. 

Figs,  ii  and  12  show  cross  sections  of  a  plain  weave, 
the  ends  of  the  warp  being  represented  by  the  small 
shaded  circles;  a  section  of  a  plain  weave  taken  length- 
wise, i.  e.,  with  the  warp,  would  be  the  same.  Both  sides 
of  a  fabric  woven  with  a  plain  weave  usually  have  the  same 
appearance. 


PLAIN  OR  COTTON  WEAVE 


sgssssss 

SSSSS5SS 


Fig-.  10. 


Fig.  loa, 


Fig.  ii. 


Fig.  12. 


BASKET    OR    PANAMA    WEAVES. 


These  are  weaves  where  two  or  more  adjacent  warp 
and  filling  threads  intersect  the  opposite  system  of  threads 
in  the  same  order. 

Fig.  13  shows  a  basket  weave  in  which  two  adjacent 
threads  work  together;  this  is  usually  called  a  4-leaf 
basket,  since  there  are  four  threads  in  the  pattern.  Fig. 
I3a  is  a  4-leaf  basket  cloth. 

Fig.  14  is  a  6-leaf  basket,  in  which  three  adjacent 
threads  work  together;  Fig.  15,  an  8-leaf  basket,  in 
which  four  adjacent  threads  work  together.  Other 
weaves  of  this  class  are  shown  at  Figs.  16,  17,  18  and  19. 
Fig.  I7a  is  the  cloth  woven  with  Fig.  17. 

Weaves  like  the  one  at  Fig.  18  are  used  when  the 
fabric  contains  more  threads  per  inch  in  the  filling  than  in 
the  warp,  or  in  other  words,  when  the  warp  is  more 
loosely  set  than  the  filling. 

Although  the  plain  and  basket  weaves  can  be  woven 
on  two  shafts,  the  number  actually  used  is  regulated  to  a 
certain  extent  by  the  threads  per  inch,  or  in  other  words, 
by  the  set  of  the  warp.  An  increase  in  the  number  of 
threads  in  the  warp  necessitates  the  use  of  more  shafts  to 
avoid  an  excess  of  heddles  on  one  shaft  and  chafing  of  the 
warp  yarn  in  weaving. 

To  prevent  drawing  in  of  the  filling  at  the  sides  of  the 
cloth  when  weaving  with  basket  weaves,  the  selvage  is 
woven  with  a  plain  weave.  One  warp  thread  woven  in 
the  selvage  with  a  plain  weave  and  called  the  catch  thread, 
is  sufficient  for  this  purpose. 

Figs.  20  and  21  show  cross  sections  of  a  4-leaf 
basket  weave. 


BASKET    OR    PANAMA    WEAVES 


•  • 

•  •I 

•  •I 


:     xxx 

HD"XXX 

cccxxx 


L-'BiBiLJ  KKKUUI.BB 

3BBD    XXXQCCBB 


•  •I 
1BBI 

•  •i 


Fig.   1 8.          Fig.   19. 


14- 


a-4 


:::: 


LJUUQX3CXX 

aa^nxxxx 
aaaaxxxx 
onaaxxxx 

xSSx^ 


DDOGBBBB 

GSSgggg! 


OOOOBBBB 


BBBB 
BBBB 


Fig.  15- 


BBBODB 
•••••• 

BBBOOBBB 
DDDK 


IBDDD 


5gggg 

.uggggg 

£:s:gg 


Fig.  16. 


DDBC 


]OBanDB 

]§:DBSS 
§gggggs 


...ggggg 

RSBSHSB: 

OnQBDUDB 


IBDBBBQ 

^SSSR: 

JSgggp' 


aDDBGHCB 


£88 

Fig.  17. 


Fig. 


Fig.  iya. 


Fig.  20. 


Fig.  21. 


RIB    WEAVES. 


If  two  or  more  filling  threads  are  woven  in  each  shed 
of  a  plain  weave,  a  ribbed  effect  running  crosswise  of  the 
cloth  is  produced.  If  two  or  more  warp  threads  are 
drawn  through  the  same  heddle,  a  ribbed  effect  is  pro- 
duced with  a  plain  weave,  but  running  lengthwise  of  the 
cloth. 

Rib  weaves  are  either  plain  or  mixed. 

In  a  plain  rib  the  same  number  of  threads  work  to- 
gether to  form  the  rib,  and  consequently  the  ribs  are  all 
alike. 

In  a  cross  rib  the  threads  working  together  to  form 
the  rib  vary  in  number,  causing  the  ribs  to  vary  in  size. 

Rib  weaves  are  called  cross  ribs  or  long  ribs,  accord- 
ing to  the  direction  in  which  the  rib  runs. 

In  cross  ribs,  only  the  warp  threads  come  to  the  sur- 
face. In  long  ribs,  only  the  filling  threads  float  on  the 
face. 

PLAIN    RIBS.     (CANNELE.) 


Figs.  22,  23  and  24  are  plain  cross  ribs.  Fig.  22  has  2 
filling  threads  woven  in  each  shed  and  is  the  simplest  of 
the  three. 


Fig.   23a. 

Ribs  are  made  heavier  either  by  weaving  more  filling 
threads  in  a  shed,  or  by  using  a  coarser  filling  yarn.  In- 
stead of  using  a  heavier  filling  yarn,  which  generally 
causes  uneven  ribs,  it  is  better  to  use  a  fine  yarn  with  two 
or  more  threads  wound  together  on  the  bobbin. 


PLAIN    RIBS 


i  r 


Figs.  25,  26  and  27  are  long  ribs.     Fig.  25  is  also 
called  a  twist  weave. 

Fig.  28  is  a  section  taken  lengthwise,  and  Fig.  29  a 
section  crosswise  of  the  cross  rib,  Fig.  22,  which  is  wovem 
with  two  picks  in  a  shed. 

Fig.  23a  is  the  cloth  corresponding  to  Fig.  23. 


DBUBGBC 
CBCBOBC 
•  •  •  I 

S§ggg.'5g 

iggggsgg 


»L_(«LJ«l   jBBL_ 

KGBDBQBD 


.j»t_'» 

BDBG 


BD 


ggg 


BDBG 

•    • 

Fig.  22. 


Fig.  25. 


X  •  •  • 
X  •  •  • 
X  •  •  • 

X  •  •  • 

X   •   •   • 


Fig.  23. 


5SRS 


'..I." 


Fig.  26. 


gggggggg 


OBOBOBO 
GBGBGBQ 
CBGBOBD 

ggggggg 


LXZBGBCB 


•  •  •  • 


KDBG 


GBGBDBDB 

DBGBGBGB 
DBGBGBGB 
DBGBGBGB 
BGBGBGBD 
BGBGBDBG 
BGBGBGBG 
BGBGBOBO 


Fig.  24. 


Fig.  28. 


.. 


gggggg 
...... 


.. 


gggggggg 

xxxxxxXX 


uSSS 

II 

GGGCJ 
xxxx 

GGGQ 


Fig.  27. 


Fig.  29. 


MIXED    RIBS. 


These  have  different  sized  ribs  in  the  same  weave  and 
.are  classified  as  long  and  cross  ribs. 

Figs.  30  to  36  are  mixed  cross  ribs. 

Figs.  37,  38  and  39  are  mixed  long  ribs. 

Fig.  30  is  used  chiefly  for  ladies'  dress  goods,  up- 
holstery fabrics  and  vestings;  Fig.  3oa  shows  the  cloth 
woven  with  Fig.  30. 

All  of  the  weaves  so  far  referred  to  have  but  two  warp 
threads  intersecting  the  filling  in  different  orders,  and  can, 
therefore,  be  woven  with  two  shafts. 

The  selvage  for  cross  ribs  is  woven  with  a  cotton 
weave. 

Cheaper  material  may  be  used  for  the  filling  of  cross 
ribs,  as  the  filling  threads  do  not  come  to  the  surface  on 
either  side  of  the  cloth. 

Likewise,  cheaper  material  may  be  used  for  the  warp 
•of  long  ribs,  since  the  warp  threads  do  not  come  to  the 
surface  of  these  fabrics. 

A  part  of  the  warp  yarn  for  the  weave  sncwn  at  Fig. 
31  may  be  made  of  cheaper  material;  thus  the  warp  may 
be  dressed.  2  wool,  i  cotton,  or  2  silk,  i  cotton. 

Fig.  3ia  shows  a  fabric  woven  with  this  weave. 


Fig.  393. 


ig-  39a  is  a  fabric  woven  with  Fig.  39. 
Figs.  40  and  41  are  sections  taken  lengthwise  of  the 
mixed  rib  shown  at  Fig.  34. 


MIXED    RIBS 


sggggg 

IGBGBGB 

I§:B:S: 
•D*ggg 


DBDBD 


BGBGB 

ggggggg 

HGBGBGB 
OaGBDBGB 

MGBGBGB 
XGBQBGB 


IGBGBGBG 
]BGBGBGB 

1BGBDBGB 


BnBDBDBD 
DBaBDBDB 


DBDBDI 
GBGBGBGB 
BGBGB 


GB 


SSSSSSSS 


BG 


BGBGB 
BGBGB 


Fig.  30. 


Fig.  3oa. 


BBGBBGBB 
BBGBBQBB 
BBGBBGBB 
GGBGaBQa 

::ss:°" 

BBGBB 


B  GB 
B  GB 


GO 

B 


BBGB 


an 


GGBOGB 

BBBGBBG 
BBGBBG 
OBBG 
BGGB 

B::B::B 

BGBBG 


IBGBBG 
GBBGBBD 
BGGBGGB 
GBBGBBG 
GBBGBBD 
GBBGBBLJ 


Fig.  31- 


Fig.  3ia. 


:g:g   idB^SaSa 

Fig.  33- 


SaSngngglggSg 


sgss 


Fig.  34- 


Fig.  36- 


Fig.  37- 


Fig.  38. 


Fig.  39- 


Fig.  40. 


Fig.  41. 


IRREGULAR    RIBS. 


These  are  made  by  breaking  up  either  plain  or  mixed 
'Tibs. 

Fig.  42  shows  an  irregular  rib  in  which  the  order  of 
intersection  of  the  warp  with  the  filling  is  broken  at  the 
end  of  each  four  warp  threads. 

Figs.  42,  43,  44  and  49  are  irregular  ribs  derived  from 
plain  ribs. 

Figs.  45,  46,  47  and  48  are  derived  from  mixed  ribs. 


Fig.    43a. 

Fig.  43a  shows  the  cloth  corresponding  to  Fig. 
.43,  except  that  the  repeat  of  the  weave  covers  6  threads 
instead  of  8  as  shown  at  Fig.  43. 

Irregular  ribs  are  also  made  by  altering  long  ribs, 
Figs.  50  and  51. 

Fig.  52  is  a  cross  section  of  Fig.  42. 


IRREGULAR    RIBS 


ES?S 
Fig    42 


Fig.  43 


Fig.  44- 


SSSS8SSI 


Fig.  45- 


Fig.  4.6. 


Fig.  47- 


Fig.  48. 


ill 

Fig. 


CBOBQHOB  GBCIGB'  •  GBGBGBGB  ••••(•••• 
•.     c      -  v        QBOB  BGBDBDBD  BaBGBGBrlB^BGBnB 


•     •     •     • 


BHH 

i3RE:gS 
Fig.  49 


Fig.  52. 


STITCHED    RIBS. 


These  weaves  are  used  chiefly  in  the  manufacture  of 
worsted  goods  for  fancy  effects  in  which  rib  are  combined 
\vith  other  weaves  to  form  stripes  and  checks. 

The  rib  weaves  in  such  cases  are  stitched  to  make  the 
cloth  firmer.  This  is  accomplished  in  cross  ribs  by  raising 
the  warp  thread  over  a  single  pick  and  is  shown  in  Figs. 
53>  54^  55  and  56  by  (!l)  in  one  pattern  at  the  lower  left 
hand  corner  of  the  draft. 

In  long  ribs  it  is  accomplished  by  raising  the  filling 
above  a  single  warp  thread  in  the  space  where  the  filling 
would  otherwise  float  without  interruption  on  the  back, 
and  is  shown  in  Figs.  57  and  58  by  white  squares  which 
break  the  filling  floats  on  the  back. 

Weaves  53  to  56  are  used  chiefly  for  ladies'  dress 
goods. 

Another  method  of  increasing  the  solidity  of  cloth 
woven  with  a  rib  weave  consists  in  using  special  threads 
as  at  Figs.  59,  60  and  61,  which  intersect  the  opposite  set 
of  threads  more  frequently  than  do  the  regular  rib  threads. 
These  extra  threads  must  be  very  fine  and  their  number 
depends  upon  the  degree  of  firmness  desired. 

Fig.  66  shows  the  curvature  of  the  warp  thread  in  the 
ground  weave  in  Fig.  62.  Fig.  67  shows  the  straight 
position  of  a  warp  thread  in  the  rib  weave  in  Fig.  62. 
The  warp  threads  in  the  rib  part  of  the  weave  have  no 
curvature  but  lie  perfectly  straight,  consequently  they  are 
slacker  while  weaving,  if  wound  on  the  same  beam  as  the 
rest  of  the  warp. 

Figs.  63,  64  and  65  are  stripes  made  by  combining  rib 
with  other  weaves.  Here  the  ribs  have  been  stitched  to- 
make  the  fabric  firmer. 


STITCHED    RIBS 


I 


.•   •   • 

IBOBBB 
"if 


: 


•D 

u •    • 

lie    •    • 

:":..: 

•  lie    • 


n 

•  •  • 

:(!••• 
•  II*     • 


-  54- 


-  55 


•  ••    •    i 

.25-:.!! 

•ilBOHDBC 

:•:.:  s- 


H     XIIX     X 


.-••: 


••••          QOnOflGVI 
OCli'lU          •DBBODDC 


•  DBBBDlOCu'lU  BDBBODDC 
O;JDQ(JBl««»n  DDDDDBB1 
CBBBBDlOi.JUa  aBBBOGDC 


38   rasgra 

Fig-.  56.  Fig.  57. 


Fig.  58. 


Fig.  64. 


Fig.  65. 


FIGURED    RIBS. 


The  figure  is  formed  by  floating  either  warp  or  filling, 
or  both  on  a  rib  weave. 

In  drafting  figured  ribs  the  figure  is  first  drawn,  as 
shown  at  Figs.  68a  and  69a,  but  on  design  paper. 

The  ground  rib  weave  is  then  filled  in  over  the  whole 
surface.  Then  the  floats  of  warp  or  filling  which  are  to 
make  the  figure  are  formed  by  inserting  risers  for  warp 
floats,  or  by  removing  risers  to  form  filling  floats,  Figs. 
68  and  69. 

Figs.  68b  and  6qb  are  fabrics  woven  with  Figs.  68 
and  69  respectively. 

If  the  figure  is  first  sketched,  on  design  paper,  each 
point  must  correspond  to  at  least  two  risers  of  the  weave. 

For  example,  the  motive.  Fig.  70  covers  four  points. 
The  weave,  Fig.  71,  covers  16  points.  Each  point  in  Fig. 
70  corresponds  to  two  risers  in  Fig.  71. 


FIGURED    RIBS 


Fig.  68a. 

'XXXXXX 


OOOOOOc 

XvAy'v/vA^< 


Fig.  68b. 


Fig.  69  a. 


Fig. 


•      XBXX 


mm    mm  am 


mm    mit    m 

mm    mm 

SSSSSS3 

mmmmm 


•      X 

•  • 


•  M      •• 

::  ss 


;g 

JBBOBBL.B 

:: 

Fie.  68. 


' 


•  •• 
:  ::  :: 


XBXMBXJB 

BCBBOBBO 


%sss 


•  •OH 
mm  M 
UGBX 
HUM 
KH  U 
Ul  • 


.%••••  ..-.  .%i'..- ..-.. 

B  *•  «•  •  •DBBCBBD  mmnmm 

m  mm  mmam  mrmm;  >uma  mmomm 

omoam  UDBD  o«oa«f  OH  ODBMB 


::§: 


XHXXBXXB 


DBBD  ••OBBGBB 


SXBXX 
•   •• 


•irw  •  ••  ••    •••••• 

Fig.  69. J 


•ana 

us® 


2O  FIGURED    RIBS,    (continued) 


Figs.  70  to  73  are  figured  cross  ribs  in  which  the 
figure  is  formed  by  inserting  risers,  indicated  by  (x),  and 
converting  two  or  more  repeats  of  the  ground  weave  into 
one  warp  float. 

Fig.  75  is  a  figured  long  rib  in  which  the  figure  is 
formed  by  removing  a  riser  and  thus  converting  two  fill- 
ing floats  into  one. 

Pleasing  effects  can  be  obtained  by  combining  both 
long  and  cross  ribs  in  the  same  weave.  Fig.  74  is  an  ex- 
ample. 

Fig.  76  is  a  cross  rib :  dressed,  2  red  i  black ;  woven, 
3  red  i  black.  The  figure  is  formed  by  combining  the 
warp  floats  for  16  wrarp  threads  on  the  same  pick.  This 
operation  is  then  continued  for  13  warp  threads  on  the 
fourth  pick  from  the  one  previously  altered.  The  risers 
inserted  to  lengthen  the  float  are  indicated  by  (x).  Fig. 
76a  is  the  cloth  thus  woven. 


FIGURED  EFFECTS  BY  COMBINING  CROSS 
AND    LONG    RIBS. 


The  most  elaborate  effects  in  figured  ribs  are  made 
by  a  combination  of  cross  and  long  ribs.  The  accom- 
panying Figs.  77  to  83  are  examples  of  such  designs. 

Fig.  77a  is  a  motive  selected  for  the  design.  The 
number  of  threads  in  the  pattern  is  next  fixed  upon,  in 
this  case  16,  and  the  motive  painted  on  the  drafting  paper 
as  indicated  by  (x),  Fig.  77b,  to  cover  the  16  threads. 

The  filling  rib  weave  is  then  marked  on  the  painted 
portion  of  the  design,  and  the  rest  of  the  pattern  filled  in 
with  a  warp  rib  weave. 

Fig.  77  shows  the  completed  draft.  (x)  represents 
sinkers. 


FIGURED  RIBS,  (continued} 


21 


Fig.  76 


Fig.  76a. 


FIGURED  EFFECTS  BY  COMBINING  CROSS 
AND    LONG    RIBS. 


xxxx 
;  xxxx 
:xxxx 
xxxx 
xxxx 
GGQGXXXX 


xxxxxxxx 
xxxxxxxx 
xxxxxxxx 
xxxxxxxx 


xxxxxxxx 


XXXS8G 
xxxx 


DG 
BB 


QG 
BB 
GUBBGG 


Fig.  77b. 


Fig.  77. 


xxxxxxxx 
xxxxxxxx 
xxxxxxxx 
xxxxxxxx 
xxxxxxxx 
xxxxxxxx 


::  :: 

Fig.  78a. 


xxxxxxxx 
xxxxxxxx 
xxxxxxxx 
xxxxxxxx 
xxxxxxxx 
xxxxxxxx 
xxxxxxxx 
xxxxxxx 


BCI 


DBGBDB 
BOBDBD 


8 

XBBBXXXB 
BXXXBBBX 


HBBBXKXB 
BXXXBBBX 
XBBBXXXB 

BXXXBBBX 


XBBBXXXB 
BXXXBBBX 
XBBBXXXB 
BXXXBBBX 
XBBBXXXB 
BXXXBBBX 
XBBBKXXB 
BXXXBBBX 


Fig.  ;8b. 


Fig.  78. 


22       FIGURED    EFFECTS    BY    COMBINING    RIBS,    (continued) 


Sometimes  the  rib  weave  and  the  threads  allowed  for 
it  do  not  come  out  even.  In  such  cases  the  odd  threads 
are  woven  with  plain  weaves  as  shown  at  Fig.  78. 


Fig.  780. 


Fig. 


Fig.  7<8a  is  the  motive,  and  Fig.  j8b  the  draft,  painted 
to  receive  the  weave. 

Fig.  78*2  shows  the  cloth  corresponding  to  Fig.  78. 

Figs.  7pa,  8oa,  8ia,  82a  and  83a  are  motives  corre- 
sponding with  the  completed  drafts,  Figs.  79,  80,  81,  82 
and  83  respectively. 

Fig.  83b  shows  the  cloth  corresponding  to  Fig.  83. 

In  Figs.  77,  78,  79,  80,  81,  82  and  83  (x)  represents 
sinkers,  where  the  warp  passes  under  the  filling. 


FIGURED    EFFECTS    BY    COMBINING    RIBS,   (continued}       2$ 


Fig.  79a. 


Fig.  8 1  a.. 


BBBXXXQB 
XXXBB.  B 

•BBXXXB  ,j 
XXX..H. 3 
•••XXX  • 
XXXBBB  • 
•••XXXB. 
XXX.OHXX 


IXXXZU 


•  •  ••• 

•  •      liXX 
•      •      •      BS 

BGBGBCXX 


*  BBIiBX 

B    BXXXB 

B      B      «0BX 
H      B     XXXB 

•  ••••X 
B      BXXXB 

•  XXXB 
XBBBB 


BXXXI; 


BXXXBQB 

XXX  JO  U 
XBBB  B  B 
BXXXB   B 

XBBHB   B 


BBBBXXX 

•XXXBBB 

XXBBBXXX 

BBXXXBHB 

BBBXXX 

XXXBUB 

XX.BBXXX 

BBXXXBHB 


•BOGGBJ 

GGBBlBlBH 

••ODGBB 


S5SSS&S? 


BOQGBXBX 
BBBUXBX 


•..•BX.-X. 


ssssssssi: 

BX  BXBXBBI 


•  II.  ••• 

•  •BB   iD 

•  ••• 


XB 

X 

XBQ 


BXBXBX 
•BBXBXBX 


•  BB£X 

BO  DGBX 


GBBJHQGUB 


Fig.  81. 


LiXBXBXBX 

•XBXBXBX 

•XBXBXBX 

XBSXBXBX 


.... 
.... 


XBXB 
XBXB 
XBXB 


Fig.  82a. 


OGDGBBBB 
BBBBGGGG 

22SS5SSS 

XBXBBBBB 

aaa 


XBXl 


BHBXBXBX 

BXBXBXBX 
•9BBXBXBX 

BXBXBXBX 

na 

BBBBXBXB 

"' 


BBBBXBXB 


Fig.  80. 


XXXXB.B. 

5.BBXXNN 
XXXBB.. 
•BO.XXXX 
XXXXBBB. 
BBBBXXXX 
XXXXBBBB 
BBBBXXXX 


XXXXBBBB 
BBBBXXXX 
XXXXBBBB 
BBBBXXXX 
XXXXBBBB 
BBBBXXXX 
XXXXBBBB 

•aeaxxxx 


. ; : : 


BPBGBPBn 


•XBXBXBX 
BXBXBXBX 
BXBXBXBX 
BXBXBXBX 
XBXBXBXB 
XBXCXBXB 
8BXBXBMB 
XBXBXBXB 


:i:s»: 

XBXBXBBB 
XBXBXBXB 


XXXXCH 

BBB.XXXX 

XXXXVI 

•BB.XXXX 

XXXXB. 

...oxxxx 

XXXXB.. B 
BBBBXXXX 


XXXXBBBB 
BBBBXXXX 

SXXXBBBB 
...xxxx 

XXXXBBBB 

B.B.XXXX 

XXXXB9B. 

...XXXX 


xxxxaan. 
a.xx 

XX.B 

•naaxxxx 

XXXXBtiBB 
•HKBXXXX 
XXXXUBBB 
•*XXXX 


BXBXBXBX 
BXBXBXBX 
BHBMBKBK 
•XBXBXBX 
XBXBXB 


lUDl 


xxxx 

BBBBXXXK 
XXXXBBBB 
•BBBXXXX 

XXXXBBBB 
BBBBXXKK 
XXXXBBBB 
BBBBXXXX 


•  X..R.X.K 

XBXBXBXB 


XBXBXBXB 
XBXBXBXB 
XBX 


BXBXBXBX 
BXBXBXBB 

BXBXBXBX 
BXBXBXBX 
8BMBXBXB 
KBXBXBXB 


XBX 
BXBX  XBX 
BHBKBXBX 

XBXBXBXB 
KBXBXBXB 
XBXBXBXB 
XBXBXBXB 


XXXXBBBB 
BBBBXXXX 
XXXXBBBB 
BBBBXXXX 
XXXXBBBB 
B.B.XXXX 
XXXXBBBB 
BBBBXXXX 


XXXXBBBB 
BBBBXXXX 
XXXXBBBB 
BBBBXXXX 
XXXXBBBB 
BBBBXXXX 
XXXXBBBB 
BBBBXXXX 


BXBXBXBX 
BXBXBXBX 
BXBXBXBX 
BXBXBXBX 
XBXBXBXB 
XBXBXBXB 
XBXBXBXB 
XBXBXBXB 


BXBXBXBX 
BXBXBXBX 
BXBXBXBX 
BXBXBXBX 
XBXBXBXB 
XBXBXBXB 
XBXBXBXB 
XBXBXBXB 


"BBBI 

BK.B 


BBBBOC 

•  BBB  If 


SSSSi 


Fig.  82. 


Fig.  83. 


FIGURED    PLAIN    WEAVES. 


Figures  are  formed  by  floats  on  a  plain  weave  in  the 
same  way  as  with  figured  ribs.  First,  the  plain  weave  is 
marked  on  a  draft  covering  the  number  of  threads  in 
the  pattern;  then  the  motive,  Fig.  8Qa,  is  reproduced  on 
the  draft  by  filling  in  risers  (x),  to  make  floats,  Fig.  89. 

These  weaves  are  used  chiefly  for  cotton,  linen  ancj 
silk  goods,  and  for  cotton  or  worsted  warps  woven  with 
mohair  or  luster  filling. 


Fig.  9oa. 


If  the  figure  is  to  be  formed  by  filling  floats,  risers 
must  be  removed  instead  of  added. 

Fig.  88  shows  a  draft  containing  both  warp  and  fill- 
ing floats. 

Figs.  84  to  90  are  other  examples  of  figured  plain 
weaves. 

Fi'gs.  84a,  87a  and  88a  show  cloth  woven  with  Figs. 
84,  87  and  88  respectively. 

Figs.  8ga  and  903  are  the  motives  for  Figs.  89  and 
90  respectively. 


FIGURED     PI.  A IX     \\K.\VKS 


Fig.  S4a. 


Fig.  8711. 


Fig.  SSa. 


OBGBOBDi 


.'.-.xi' 


XBXB   BXB 

•  X 
BXBXBXB 

B   BXBXB 

B   BXBXB 

B   BXBX. 

B   BXB 

•  X 


XBDBXB8B 


•   B   B   BX  B   BXBXB 

.:::•  .:•.•**.:• 

90. 


IMITATION    BOUCLE. 


The  loop  for  the  genuine  boucle  is  made  on  the  yarn. 
The  effect  produced  by  these  loops  in  the  goods  can  be 
imitated  either  by  a  warp  pile  or  by  weaving  the  goods  so 
that  the  filling  threads  float  on  the  surface  and  curl  up- 
when  the  goods  are  fulled. 

The  appearance  of  the  boucle  depends  upon  the  way 
in  which  the  filling  floats  on  the  face.  These  floats  may 
be  scattered  so  that  the  face  of  the  cloth  presents  a  regular 
appearance,  or  they  may  be  arranged  to  form  twills  and 
other  effects. 

The  farther  the  filling  floats  the  larger  will  be  the 
loop.  The  warp  is  generally  made  of  cotton,  and  the 
looped  filling  of  mohair. 

Figs.   91   to  97  show  weaves  for  these  effects;  the 


Fig. 


Fig.   9;a. 


IMITATION    BOUCLE 


risers  are  represented  by  white  squares  and  the  sinkers  by 
(X)  and  (•). 

Fig.  91  a  shows  the  cloth  woven  with  Fig.  91,  and  as 
it  comes  from  the  loom. 

Fig.  91  b  is  the  same  cloth  fulled. 

Fig.  9/a  is  the  finished  cloth  woven  with  Fig.  97. 


•  G.ZD.G.GI.X.X.X.X 

S5S5S5S5SS2a2u2S 

K.X.X.X.lG.n.G.G. 

SgggSSSS  52525252 

•  x.x.x.xl.  ..:.[.  j 

X.X.  X.X.I.    ..•_... 


n.G.i  -j.n.n.a.ia.G.'-.". 
•G.n'.n.n.G.ol.G.G..  .. 


1    B      B 

:.•. 

sgggigggggs 

:.:.:.•.•.•:-:•: 

I.....G.G    B      B      B      B 


•  •!•• 

••  I.,  i. n 


••• 

G.G 


•  I      B      .      B      BIB      m 

!gNigg:g:s :.:. 

i     •   ....i 

].|a.a.D.c 

IG  l.c.a.ni 


Fig.  91. 


Fig.  92. 


x.ix.x.x.n.in.D.G. 
•  xl.x.x.x.    I.    •    •; 


Fig.  94. 


Fig-  95- 


BBBB 
B      B      B      . 

.... 
•••••••• 


B        B      B      B      • 
B      B    •••••••• 


BBBB 

mBn.r.G 

BBBBBBBB 


ggggggg: 


BlJBOBUB 

BGBDBUB:  -.  _  ^-  _  . 
BBBBBBBB  •••••••• 


BBBBB 

BBBB. 
GBGBH 


•BBBUBBB 
•BBBBBBB 


B. •• 
g 

U 

BJB 


'  :.      •    I.'   :. 

•  G.G.'J.. 

'J.  J.    -• 


B      B      B  J.  J 

•— 


B      B      B      I 

•G.n.a.c 

••:::::: 


•  iJBL    •!   i 

m    m    m 
•G.O.u.J 


Fig    96. 


G.O.n.n. 
.X.X.X.X 
X.X.X.X. 

•U.G.:  !.! ! 
O.G.M.G. 


•  XBXB 
•X.X.X.X 

XBXB      B      B 


X.X.X.X. 
•X.X.X.M 


•G.iJ.D.rj 

G.G.G.G. 
.X.X.X.X 
X.X.X.X. 

.      B     .     B 

B      B      .      B 
•X.X.X.X 


•G.n.G.D 

a.Gio.G. 

BXBXB      B 

X.X.G.U. 
•G.G.G.Q 


.X.X.X.X   BX.XB      B 
X.X.X.X.    XBXB      B      • 

.    :.      .' 


BXB      •     • 

,  .  .J.D.'J.G 

I     .       B      B      •      B       •     BXBXB 
•       BBBB       B      •      BXBX 


B  .  B  B  I 
X.X.X.X. 
.X.X.X.X 


Fig.  97. 


INTERLACED  EFFECTS  IN  PLAIN  WEAVES. 


With  warp  and  filling  of  the  same  color  different 
effects  can  be  obtained  by  changing  the  weave,  the  raw 
material,  or  the  finish  of  the  goods. 

By  using  two  or  more  colors  in  warp  or  filling, 
checks  and  stripes  can  be  produced.  The  appearance  of 
the  goods  depends  in  great  measure  upon  the  weave  em- 
ployed. 

A  draft  of  the  color  effect  can  be  made  in  advance  of 
the  actual  manufacture  of  the  goods.  The  warp  pattern  is 
marked  above  the  chain  draft,  as  at  Fig.  98,  and  the  filling 
pattern  is  marked  at  the  left,  Fig. 


nonce 

E 

I,    ' 


UUUUOOOO 

•BBBGCGG 

Daaacaao 

BBBBdODG 

oaaaaaDa 
Daaaaaaa 
aaaaocna 
aaaaLiaaa 


XB8 


nnx 
x.x. 

UHDX 
X.X. 

JMLJX 
X.XB 


x«x. 

XX 

x.x. 

X      X 

xuxu 

X     X 

SLJ 


B:S:H: 


GBGBGBGB 

•    •    •    e 

"CBr.'BQB 


Fig.  98  b. 


BGBGBGB 

BGBGBGB 
GBGBGBGB 
GBGBGBGB 


Fig.  980. 


35B5 


G 
§:§: 


The  intersections  at  which  the  colored  threads  come 
to  the  face  are  here  indicated  on  both  Figs.  98  and  gSb  by 
(•).  These  are  then  transferred  to  another  draft,  Fig.  98c, 
which  shows  the  color  effect  produced  by  the  combina- 
tion. 

Figs.  99.  ico,  TOT,  103,  104,  105,  1 06,  1 08,  109  and 
no  show  effects  produced  by  a  plain  weave  with  different 
warp  and  filling  patterns. 

Fig.  iO2a  is  the  cloth  woven  with  Fig.  102. 

Where  more  than  three  colors  are  used  the  third 
color  is  indicated  by  (li).  The  weave  is  shown  at  the 
upper  left  hand  corner.  The  color  effects  only  are  marked 
on  the  body  of  the  draft.  A  change  of  the  color  from  the 
odd  to  the  even  threads  reverses  the  direction  of  the  color 
line,  Fig.  To6. 


INTERLACED    EFFECTS    IN    PLAIN    WEAVES 


Fig:.  iO2a. 


Fig.  99. 


Fig.   101. 


.  £05.- 


INTERLACED    EFFECTS    IN    PLAIN    WEAVES 


Figs.  io6a  and  lo/a  are  samples  of  cloth  correspond- 
ing to  Figs.  1 06  and  107  respectively. 


•OOBBDD* 


*- 


Fig,  io6a. 


Fig. 


To  have  the  warp  and  filling  colors  balance  and  pro- 
duce a  perfect  pattern,  the  warp  and  filling  yarn  should  be 
of  the  same  size  and  shade  and  be  set  with  the  same  num- 
ber of  threads  per  inch. 

Figs.  107,  TTI  and  112  show  color  effects  produced 
by  the  combination  of  a  basket  weave  with  various  warp 
.and  filling  patterns. 

Fig.  113  is  a  broken  weave,  Fig.  114  a  cross  rib,  Fig. 
115  a  long  rib,  in  which  color  effects  are  produced  by 
various  warp  and  filling  patterns. 


INTERLACED    EFFECTS    IN     PLAIN    WEAVES 


31 


f'T'Onnncn 


::: 


•  •••II 

BB      B«ll 

•  •••II 


RBRRR 
BRRRBBR 


IGBBBBBD 

:  :».:,; 


BBGBBGBB 
BBGBBGBB 
mm  am  mm 

BBGBBGBB 


.ogg:s:g 
::•::.:: 
B.  ..... 


BBDCXDC?D 
BBDDDXDD 

pGGDxana 


I".: 

•GBgagSc 

BBBMMGBB 

BBGBBBBB 

Fig.   108. 


a    «       BB 


JGXGG  aGGCGBGa 
:XGGG  BBBBGBB 
GGGGGBG 


Br^i 


. . ..: 

BBBBGBBB 


Fig.  1 10. 


GBGB 
GBOB 


.... 

caua 


•aaoBGOD 


112. 


I 


BDBDDDDD 
•GBDBBBB 

•  =  •  =  11=  = 

!!  =  •  =  • 

BO 
DDCDD 

•  HHBI 


Fig.  in. 


XXBKKBRX 
XXBXXBKX 
XXBXXBXX 

XXBXXBXX 

GLDGGDGG 

C 

G 


SSSBBRR 


XXXXGGC-G 
•  ••• 


XXBXXBXX 

XXBXXBXX 

XXBXXBXX 
XXBXXBXX 

XXBXXBXX 
XXBXXBXX 


XXBXXBXX 

XXBXXBXX 

XXBXXKXX 


GGOCPG 


•XXBXXBX 
BXXBXXBX 

BXXBXX1X 

•xxBxxax 

•XXBXXBX 

XXWXXBX 


xx"»xxnx 

BXXHXXBX 

BXXBX>'BX 


XBXBXBBX 

XBXBXBBX 
XBXBXBBX 
XBXBXBBX 


ODDOD 


BKBXBBXB 
BXBXBBKB 
•XBXBBXB 

gggggggg 


SBBB     I3GG 
===  -:•   c. 

BBBB10GQ 


BBIIIIBBIIII 

BliliBBlif! 

B==BB=r 

•niiBBiiu 

mm==mm-= 

•  llliBIIIII 


•IIIIBBI 

---=• 


•  •liiiaBiiii 


IBMIIBBIIII 

IBUIIBBIIII 
•B==BB== 


Fig.   114. 


Fig-    115. 


COLOR 


EFFECTS    BY   TRANSPOSING    THE 
WEAVE. 


Color  effects  can  be  produced  by  transposing  a  plain 
weave  and  keeping  the  warp  and  filling  colors  unchanged. 

Fig,  116  is  the  motive  for  a  design  on  a  plain  weave, 
woven  one  dark  thread  and  one  light  thread  in  both  warp 
and  filling.  This  motive  is  transferred  to  a  draft  cover- 
ing the  threads  in  the  pattern,  Pig.  n6a. 

A  plain  weave  beginning  with  the  first  warp  thread 
up  is  then  filled  in  on  the  blank  squares,  and  a  plain  weave 
beginning  with  the  first  warp  thread  down  is  next  filled 
in  on  the  black  squares,  see  Fig.  n6b. 


Fig.   1 1 6.  Fig.   ii6a. 


Fig.   n6b. 


Fig.   ii6c. 


Fig,  u6c  shows  the  color  effects  produced.  In  this 
way  a  great  variety  of  effects  can  be  obtained. 

Care  must  be  taken  to  have  the  same  number  of  threads 
per  inch  in  both  warp  and  filling.  If  there  is  any  differ- 
ence, the  warp  should  be  set  slightly  closer,  that  the  pat- 
tern may  be  slightly  elongated  rather  than  flat.  This  rule 
applies  to  nearly  all  weaves,  patterns  and  fabrics. 

Fig.  117  is  the  motive  for  another  color  effect  pro- 
duced in  this  way.  Fig.  ii'/a  is  the  motive  transferred  to 
the  draft.  Fig.  117!)  is  the  motive  and  weave  combined. 
Fig.  ii7c  shows  the  color  effect  produced. 

Fig.  1 18  is  the  motive;  Fig.  n8a  is  the  motive  and 
weave  transferred  to  the  same  draft.  Fig.  n8b  is  the 
cloth  so  woven.  See  following  pages. 

Fig.  119  is  a  motive;  Fig.  HQb,  the  motive  and  a 
basket  weave  combined;  Fig.  IIQC  the  color  effect  pro- 


COLOR    EFFECTS    BY    TRANSPOSING    THE    WEAVE 


33 


Fig    117         Fig.    1 1 8. 


csxonac: 
xxxxQoaa 
xxxxaqnp 


xxx> 


xxxxxxxx 
xxxxxxxx 

XXXXXXXX 

xxxxxxxx 
xxxxxxxx 
xxxxxxxx 

xxxxxxxx 


XXXXXXXX DQCCXXXX 

xxxxxxxx  apoaaxxx 

Fig.  1173. 


.. 

•  •  BJ 

ananBOB 

CBXBBJBL. 


•   BB> 

xaxaxi 


BXBXBXBX 


XBXBB   I 
BXBX   » 

•  B  XB; 

CBGBBXI 


ax  a 

XBXBB  B 

BXBXGBOB 


."."X.XB 


BXBXBXBX 
XBXBXBXB 
BXBXBXBX 
XBXBXBXB 
BXBXBXBX 
XBXBXBXB 
BXBXBXBX 


XBXBB   • 
BXBX   B   B 
XBXBB   B 
BXBX  B  B 
B   B   XBXB 

B'.'X.X. 

DBDBBXBX 


Fig  u/b. 


XBXBXBXO 


BXBXBXBX 

XBXBXBXB 

BXBXBXBX 

XBXBXBXB 

XBXBXBX 

BXBXBXB 


XBXBKB 

x.x.x.x. 
axaxax 

XBXBXB 


•XBXBXBX 


BXBXBXBX 
XBXBXBXB 
BXBXBXBX 
XBXBXBXB 
BXBXBXBX 
XBXBXBXB 


XBXBXBXB 


BXBXBXBX 
XBXBXBXB 
BXBXBXBX 
XBXBXBXB 
•XBXBXBX 
MBXBXBXB 
BXBXBX 


c"2g2S2S 

GBOBOB 


jBUBDBi_B 


Fig.  ii8a. 


BBGUBBDO 


JD 

aOBBDCBB 


KB8KSS 


XXBBXXBB 
XKBBXKBB 
BBXXBBXX 

5BXXBBXX 
XBBXXBB 
XXBBXXBB 


XXBBXXBB 
XXBBXXBB 
BBXXBBXX 
BBXXBBXX 
CXBBXXBB 
XXBBXXBB 
CXBBXX 
CXBBXX 


BBXXBBXX 
BBXXBB 

SB8XBB 
KBBXX 

BBXXBBXX 


xx! 


Fig.  H9b. 


Fig.  U7C. 


34      COLOR  EFFECTS  BY  TRANSPOSING  THE  WEAVE 


duced  by  thus  transposing-  a  four  leaf  basket  weave.  The 
pattern  must,  as  a  matter  of  course,  be  two  light,  two 
dark  threads,  instead  of  one  dark,  one  light  thread,  as 
with  the  plain  weave. 


TWILLS. 


If  the  warp  and  filling  are  so  interlaced  that  the  floats 
are  grouped  in  diagonal  lines,  the  weave  is  called  a  twill 
and  exhibits  more  or  less  sharply  defined  ridges  or  lines 
made  by  the  warp  as  well  as  the  filling. 

The  angle  of  a  twill  is  that  formed  by  the  filling  and 
the  twill  line;  thus,  Fig.  120-1  has  an  angle  of  27°;  Fig. 
1202,  45°;  120-3,  63°.  Twills  having  an  angle  of  45°  are 
called  normal,  Fig.  120-2 ;  under  45°,  flat,  Fig.  120-1 ;  over 
45°,  steep  twills,  Figs.  121  and  122. 

The  twist  of  the  warp  and  filling  yarn  has  a  great 
influence  on  the  appearance  of  the  twill.  The  same  twist 
in  both  warp  and  filling  makes  the  twill  sharper  and  more 
distinct  than  when  the  warp  twist  is  opposite  to  that  of 
the  filling.  Warp  and  filling  of  different  twists  are  used 
principally  for  woolen  fabrics  especially  those  on  which 
a  smooth  face  is  desired,  such  as  face  goods. 

Fig,  123  shows  a  thread  twisted  to  the  right;  Fig. 
124  to  the  left. 

Fig.  125  shows  a 'twill  running  to  the  right  and  made 
with  both  warp  and  filling  twisted  to  the  right,  making 
the  twist  effect  more  distinct  than  in  the  twill  shown  at 
Fig.  126  in  which  the  warp  is  twisted  to  the  right  and  the 
filling  to  the  left. 

To  make  the  twill  effect  more  pronounced  the  twill 
should  run  with  the  twist  of  the  yarn. 

If  the  filling  floats  on  the  face  more  than  the  warp 
in  a  twill  weave  the  weave  is  called  a  filling  twill,  Fig.  127. 
If  the  warp  floats  more  on  the  face  the 'weave  is  called  a 
warp  twill,  Fig.  128. 

Where  the  float  of  the  warp  is  equal  to  that  of  the 
filling  the  weave  is  called  a  balanced  twill,  Fig.  129. 


COLOR    EFFECTS    BY    TRANSPOSING    THE    WEAVE 


35 


Fig.   nSb. 


TWILLS. 


Fig  1 23.  Fig 1 24. 


Fig    125. 


Fig.    126. 


Fig:  127. 


M«B 
•  • 


«BM      • 


••••      •• 


•••RB      • 


•  ••• 
amm 


.    128. 


Fis:.   120. 


NORMAL  TWILLS. 


In  these  the  float  of  each  successive  filling  thread  is 
set  one  thread  either  to  the  right  or  left  of  the  float  of  the 
preceding  thread.  The  simplest  form  is  the  3-leaf  twill. 

Fig.  130  is  the  3-leaf  filling;  Fig.  131,  the  3-leaf  warp 
twill. 

Fig.  132  is  a  4-leaf  filling;  Fig.  133,  a  4-leaf  warp 
twill.  Fig.  134  is  a  cross  section  of  a  cloth  woven  with 
the  twill  at  Fig.  132. 

Fig.  135  is  a  4-leaf  balanced  twill  called  in  the  woolen 
and  worsted  industry  a  cassimere  twill,  in  the  silk  industry 
a  Batavia  twill. 

Fig.  136  is  a  cross  section,  of  a  cloth  woven  with  a 
cassimere  twill. 

Twills  are  designated  by  the  number  of  shafts  or  har- 
nesses required  for  weaving  them  ;  thus.  Figs.  137  and  138 
are  5-leaf  filling  twills;  Figs.  139  and  140  are  5-leaf  warp 
twills;  Fig.  141,  an  8-leaf  balanced  twill;  Fig.  142,  a  6-leaf 
balanced  twill ;  Fig.  143,  an  8-leaf  fancy  filling  twill. 


NORMAL    TWILLS 


37 


Fig.    130. 


i^?3Rb 


5SB 

CaBnOGBG 

SS8SS8SS 
"B 


gg 


s% 


?£SB 


Fig    132. 


•  ••••• 

«» 


•••••• 

m    mmm    mm 


•n 

:-.: 


datiaunGB  mr 


,:s 


•  '•••• 

•  •    ••    • 


•    ••    • 
•  •    •• 
•••• 


•   •• 

;-i; 


.:•. 
:s 


5.:s8s: 


82 


fegg:gg?s 

Fig.    138. 


8i 

»        •«        * 

gssggsr 
"SBSssesrgs 

Fig-    135- 


- 


•    139. 


•  ••• 
•••aa 

nn 


••••* 


Fig.   141. 


Fig.  142. 


134. 


Fig.   136. 


STEEP   TWILLS. 


If  more  than  one  pick  is  woven  in  each  shed  of  a  45° 
twill,  a  steep  twill,  having  an  angle  greater  than  45°  is 
formed.  The  angle  of  the  twill  increases  with  the  number 
of  picks  in  a  shed. 

Twills  with  two  picks  in  a  shed.  Figs.  144  to  150, 
cover  twice  as  many  filling  as  warp  threads;  with  three 
picks  in  a  shed.  Fig.  152, .three  times  as  many;  with  four 
picks  in  a  shed,  Fig.  153,  four  times  as  many,  etc. 

There  are  steep  twills,  however,  that  cover  the  same 
number  of  threads  in  warp  and  filling,  Fig.  151. 

They  are  formed  by  first  deciding  upon  the  num- 
ber of  picks  in  the  filling  pattern  and  then  laying  out 
the  weave  so  that  the  same  number  of  warp  threads  will 
include  two  or  more  twills  as  desired.  Such  twills  have 
an  odd  number  of  threads  in  warp  and  filling  patterns. 

Steep  twills  can  also  be  made  by  setting  the  warp 
closer  than  the  filling. 


FLAT   TWILLS. 


These  are  steep  twills  reversed,  the  warp  draft  being 
used  for  filling  and  the  filling  for  warp.  Figs.  154  to  159. 

Flat  twills  may  have  two.  three  or  four  times  as  many 
warp  as  filling  threads  in  the  pattern,  depending  on  the 
angle  of  the  twill;  or  the  warp  and  filling  patterns  may 
each  cover  the  same  number  of  threads  which  in  such 
cases  is  an. odd  number,  Figs.  155,  158  and  159. 


STEEP    TWILLS 


39 


Fig.   147-         Fig-    148.    Fig.   149.         Fig. 


SKRR 


SBSSS 

Fig.  150. 


;::§§ 

!• 

iioooii" 
loooBBwa 

IDDDBBDO 

Fig.   151. 


^  ::: 

XXX      ••• 

Fig.    i 


:  :s 
ill 


FLAT  TWILLS. 


Fig.   154. 


SSfe 


!••••••• 

cxxxxx 

' 


a 


Fig.   157. 


.Fig.   156. 


Fig.   158. 


Fig.  159- 


STITCHED    TWILLS. 


Twills  with  a  very  long  float  in  warp  or  filling  make 
a  fabric  soft  and  spongy.  To'  correct  this  defect  the  floats 
are  stitched  down,  in  such  a  way.  however,  that  the  gen- 
eral character  of  the  twill  is  not  changed,  Figs.  160  to  175. 


Fig.   1 60. 


Fig.   161. 


Fig.   163. 


Fig.   164. 


in  these  drafts  the  stitches  where  the  warp  is  raised  are  in- 
dicated by  (— )  or  (I!).  These  stitches  are  either  scattered 
over  the  warp  or  filling  twill  so  as  not  to  make  a  continu- 
ous line.  Figs.  161  to  166,  169  to  175,  or  they  are  arranged 
in  faint  twill  lines,  Figs.  160,  167  and  168. 

Figs.  i6ia  and  i63a  are  cloths  woven  with  Figs.  161 
and  163  respectively.  The  angle  of  the  twill  at  Fig.  i63a 
is  modified  by  setting  the  filling  closer  than  the  warp. 

The  set  of  the  fabric  depends  somewhat  on  the  fre- 
quency of  the  stitchers.  The  tighter  the  twill  is  stitched 
the  more  open  must  be  the  set. 


STITCHED    TWILLS 


Fig.  i6ia. 


Fig. 


Fig.  1 68. 


Fig.  169. 


Fig.  170. 


Fig.   171.    Fig.   172.      Fig.   173- 


Fig.    i/4 


FANCY  TWILLS. 


Regular  and  stitched  twills  each  give  the  goods  a 
smooth  appearance.  To  diversify  the  effect  other  weaves 
are  combined  with  the  principal  twill,  but  made  subordi- 
nate to  it. 


•••  9BBB 


SSSKSSSSBSSBSSB 
Fig.  176. 


GGBD    DBBBGBBB 

syg:  :s".:sa 

g:Bgy§ 


BBBGBBBG 


I 

:::: 

::::-•••  K.1 


gR: 
ss . 


ygyy 


GGBDBBDG 
•BDGBBGB 

D 


...5Ry.s  BBggyygB 


177. 


ggyyggy 


RRgg 

yygR 


ygg 


S:R 


..Bygg.: 

SGBDBBDD 
ogsyggyg 

DDGnBBrq 


ggys 


Fig. .  1 78. 


GBBB 
m\l 

s:gg 


BBBB 
BBD 


-.ss  :•. 


BBQBOBBB 
BDBBDBBD 
a  m  mum 


BOBBGBBG 

s:-..  : 


ggs 

•GL 
••DG""r 

GBBGBBC 


BQBBOGBB 

gyyg:ygg 


:: 


.s 

DGB 

BBG 


yyg::.yg 


gRgs 


g:y§  ygysgygl 

ago 

BBD        DGGB  GBBGBGBB 


":":i" 
s  s  ss : 


GBICBGBB 
BBGBGGGB 

BBGBGGC.B 


GBI 

Ryyas^ 


Fig.  182.. 


Fig.   1 80. 

In  drafting  fancy  twills  the  main  twill  is  first  formed 
over  the  given  number  of  threads  in  the  pattern.  The 
subordinate  weaves' are  then  \vorked  in  so  as  to  join  neatly 
with  the  twill,  very  long  floats  being  avoided.  Figs.  176 
to  191  are  examples  of  fancy  twills. 


Fig. 


Fig.  iSSa. 


FANCY    TWILLS 


43. 


Shaded  twills,  which  are  also  classed  as  fancy  twills, 
are  shown  at  Figs.  187,  188  and  190. 

Figs.  i85a  and  i88a  are  cloths  woven  with  Figs.  185 
and  1 88. 


•r:.::: 
S«S 


Spr.BBB  JB  GODBBGBB 

aCBDCBB  DCDBBBCB 

GBBBfJBBB  CBBCBBBD 

DSSS'g  S?S'D"a 

.SS      S  SB" 

BB*      BIBB  BBB 


BBBQDBQC 


Fig.   18.3. 


Fig.   184 


Fig.   185. 


BBBGBB  mm  mm  ma 
BBGBBB  BDBBBOBG 
BGBBBB  m  mm  mm 


Fig.  1 86. 


Fig.   187. 


Fig.   i 88. 


BB      HIHI 
UBB      BO     • 

mmm^mmmm 


Fig.   189. 


Fig.   190. 


Fig.   191. 


COMBINATION    TWILLS 


These  twills  are  shown  at  Figs.  192  to  198,  and  are 
formed  by  combining  with  the  principal  twill  another  one, 
which  either  runs  parallel  with  the  main  twill  or  intersects 
it  at  a  more  or  less  acute  angle. 

The  two  twills  must  be  joined  so  as  to  avoid  causing 
.a  long  float  that  would  destroy  the  effect  of  either. 


B   B  I 

IOBGI 


gB.ggR.g 

GBBGGBBG 


g.Rgg.Rg 


ggg.:..g  .:•. 


,55::- 
...gRgg: 

.ggRgg.B 


g  :Rgg.R?g 
Rgg-Rgss 
gg.Rgg.B 


:::••.: 

.sssg£.d  gg:Rgg:§ 

Fig.    192. 


•OBDB 
•OOBB 


•GBIOOOBBGBD 


Fig.   193. 


EM      ••          • 


Fig.    194. 


s.  •: 


"gsg§gL 

BGOBGBB 
BBGOBBB 


•...:• 

•  BBC 


GGBBGGBB 

:iRg.ggg 
Bg:ggg:R 

BGGBBGGB 


Fi§'-  195- 


B 

BGDBBGGB 
GGBBLJBBG 


B   BB   B   B 

BGBBBGBB 
BBGGBGBB 
BBGBGBBB 
GGGBGBBG 

GBBGBBBG 
•GBOBBQB 


(JBBGBBijB 
BGBBGOBB 
BGBBGBBG 


BBGOBOBG 


?gk! 

s:g^ 


BBBGBBBG  GBGGBGG 
BBDBGBGG  BGGBGOB 


RggRg 

p..:: 


£ 


r  G 

ZRsSig: 

::sgggg 

igggggg 


JBGBBG 
BGBGBGBB 
BGBBBGBB 

jgRs:gg 

DBOGBBHO 


gggg 

gggR 


•  r.BB 

1  G 


UQB..I 

igng 

.:. 


:  :: 

QII» 


I.'.1    ^H! 


. 


SHHS 


gggRggR 


GG 


•  ••     • 
BGBBBUB 

ooaa 

BBOG 

BBGBBBGB 

BBGGBBGG  •     B 

Fig.   197. 

•       •••••I* 


GBGDBO 
•"•nrS 

•  —iBuGB 

gggggR 


_JGBBGBQO 

'"SsisR 
ss  .::  : 

:ggssgB 

••  •• 

BBE      ••• 

jgBpaGBB 
SIB 


Fig.   196 


RIB    TWILLS. 


With  fancy  twills  are  classed  the  so-called  rib  twills,, 
which  are  made  by  combining  twills  with  either  warp  or 
filling  ribs. 

The  same  care  must  be  taken  in  joining  the  different 
weaves,  Fies.  199  to  204,  as  is  necessary  in  drafting  the 
combination  twills  already  described. 

The  twill  effect  can  be  made  very  distinct  by  having 
the  color  of  the  warp  in  strong  contrast  with  that  of  the~ 
filling. 


BE 

r.m: 


nan 

•  • 

•  • 


B     •        • 

~m:~  m~r.mii 

B      •      •      • 


•     B     B 

B     B,    B,    B:  i 
BGBGBGBG 


Fig.    199. 


-.... 

••••nnrv 
»••• 

•  •a 


:  2 

••OBOMPB 

•          B      •      • 


5S2222 
S2222 

BB 

•  B    a 

GDBBB 


sss-  .  s 


. : : : 


DBOB 

ganB 


IBOGBGB 

IGBQBCB 

W      B      B 


s  :„ 


BBBBGHOD 

BBB* 


BBBBnoar: 

GGDGBBGB 


Fig.  200. 


Fig.  201. 


'  J'IDB 
BBBCB 


OGC'BuBDB 
•  •     •     B     B 


DBGBai 

B     B     I 

B     II     B 


•  •  — 

B     B     BBBB 

" 


BGGGBBBB 
BBBBDGDG 

Fisr. 


:"• 

!H:g:"gg 


S  V 

BGT   I 

BBB. 


aa".n" 

•    • 

: : 


BB~B     B':,B 

•     B     B   j 

B    .B    ,BGB"j 


202. 


OB'DBCB 


..  , 
GBGBDBBB 

B    •  .B    '  : 


§B_jijG  .^m 
B:  "BBBG 

BGBGBBB'J 
GB::B:_  : 

GBG'B     BBB 
BBB 

B    B  ~B    mm 


B     B     K     •  DBOBOBH 

B     B     B     B    :  BBB     B 

BBBB  CCBZBCB 


•      •       H 

!  'B  B"  B" 
BGBQB  B 
B  •  B  B 
GBGBr  BG 

SS2S 


^i  i   B^B 

BDB3BCBQ 
B     !»     • 


II    Dl    B     B 

BBB     B     B 


mm 

m 


B  .  B  BBB... 


Fig.  203. 


B     B     B 

•  B    ~T  m  ~.m 


n2g2ggg2 

B     BBBH 

BBB    "B 


BBBOC 


B«BB 

DIJ 


IBB     B     B 


•CBDBD 

•  B  -  '   9  • 
•BBBOB 

••'  "  -••• 
GGBBBQGG 
~BQQCBBB 


DBQOOBBB 

BGBOBGG 

BGBGB:_.*n 
GBGBOBG* 


Fig.  204. 


FANCY  TWILLS  DERIVED 

TWILLS. 


FROM   FILLING 


Filling  twills  are  used  as  a  ground  work  in  the  pro- 
duction of  many  beautiful  twill  effects  of  peculiar  appear- 
ance. 

A  filling  twill  is  used  for  the  ground  weave  and  risers 
.are  then  inserted  to  produce  the  effect  desired. 

Figs.  205  to  214  show  several  examples  of  these 
weaves,  the  foundation  filling  twill  being  indicated  by  (x). 


Fig.   212  gives  a  shaded 
scales  on  a  fish. 


effect;  Fig.  214,  the  effect  of 


IgSHSSraoo 
Fig.  205. 


DXBDOX 


Fig.  206. 


x  BBX  • 


BGnxaocx 


BX   BBX 
SIX   BBX 

DXaOBXGB 
X    MX   •• 


HS8HB8 

.'xS' 


DGBXGBGK 


BXGBOXBB 

XGBBXBBC 
DBBXGBGX 
OBXQBOKB 
•XGBBXBB 
KQBBXDBa 


XGBBX 
IXQGBXGB 
QUBXGBB 


OGBXGBBX 

GDXDGBXG 

DDBXCB 


BOXBBGKI 
BXBBGXBG 


BG 

- 


gGBXQBGX 
BXGBBXB 


s:sg 

SSiSSRg 

GXBBGXBu 
XBBGXBGD 


6GB 
DGBKG 

HBXGB 


GGGXGGBX 


Gxa 

xaaaxaaB 


XOBOXBBC 


185 


XBOOXQOBIXGBBXnBG 


BGXBGGXG 
GXBGGXuD 

XBGCXDOG 


OGBXGBBX 
XUGBXCBB 


aauxacBX 


xBaaxaaa 


BBGXBGGX 
BGXB_CXJ 
GXBGGXGG 


XGBBX 
X  BBX 

GGBXGB 
XuOBXGBB 


85$ 


XBBGXBU 


BBS 


BBXGBGXB 
BXGBGXBB 
XGBBXBBG 

" 


GGBXGBLJX 


BGXBanxa 

GXBGDXGG 

XBGGXCOO 


BBX  B 

GBXCBG 
BXGBBX 


BSSSgS 

GHggg£xX 
GXGCBXGB 
XGGGXGCB 


HXBGCX 
•GXBBGXB 
BXBBJXBG 
XJBGXBGO 
GBGXBBGX 
BBXBBGXB 
BXGBGXB.: 
X  B  XBB 


BBGXBGGX 

BCXBGGXG 

XBGCXGC 

BBGXBGO 

BBGXBGCX 

GXHGCXG 


BXGBBX 

GGXGGBXG 
GXGGBXGB 

Bilgg§g 

xGOCxorai 


BBXBBGXB 
•XGBGXB 
X  B  XBB 


GGGXGG 
GGXGGBXG 
GXGGCXGL 
XGGCXJGB 


••XBB  X 

BBKGBGKB 


BKGBBKBB 
X   BBX  • 


BBGXB  ..X 
XBBGXBGG 


GBXGBBX 
XGGBXGBB 


xua 


gg§s: 


GBGXBGGX 
B   XBB   XB 

BXBBCXBG 
GBGXBGG 
•GXBBGX 


X   B   XBB 


BSS5BS5E 


B.x 

XGBBXGB 


sQ 
G 
G 

XBDGXGQG 

BGGX 
BGXB 

GXB 
JSBG 


JBXuBUX 
GBXGBBXB 
BXGBBXGB 
8GGBXGBG 


BGXB:  x 

•GXBBGXB 


GGGXGGBX 


BGGXGQGX 
GGXGGGXG 
GXBGGXaa 
XBGGXGQQ' 


Fig.  207. 


ar  BXGBGX 

GBXGBBXB 


GXBGGX 
XBB  XB 


GGBXGBBX 
GGXGGBXG 
3XGGBXGB 
HGGBXGBB 


FANCY    TWILLS    DERIVED    FROM    FILLING    TWILLS  47 


xjan 


•GGGBBBG 

X   •   XII 


BPBBBX     X 

BBBBXUXB 
•••XXII 
BBX  XBBB 

JKoXBBBB 


X   XBB 
X  XBBB 
X   XBBBB 
X  XBBBB 


•BBX  XBB 

••X   XBHI 

X  XBBBB 

X  XBBBBB 


LJ,..BX.1_.L:B 
•  X          IB! 
•  XfJBBBBX 
X      B-BBX 


SXIIB    X 
•  ••  .  X: 
BBBB  X  X 


XBBB 
XBB.  >;  nx 
a     xx 
x  xi 

LX  XB 
X  XBB 


XBBBBBX 
XBBBBBX  1 
BBBBBX  X 
BBBBX  XB 
BBBX  XBB 
BBX  XBBB 


H8SBB8 

BX3C 

. 

DBBBKCBB 

x 


XIII    X 
XIBB    X 
BBBB  X  X 
•  ••   X 
BBBX 


XBBB 
XBB  X 

B  XX 

DCJCCiXl  XB 

x   x  B  ._ 

D!   X    xii 
X     XBB  -' 
X      XBI 


XBBBBBX 
BBBBBX 
•BIBX  X 

BBBX  XI 
BBBX  XBB 
BIX  XBBB 

X  XIBII 
X  XBIBBB 


Fig.  213. 


Fig.  214. 


DEFLECTED,  UNDULATING  AND  CURVED 

TWILLS. 


Whenever  the  direction  of  a  twill  is  changed  a  broken 
place  occurs.  If  the  twill  line  is  broken  frequently  enough 
to  change  its  general  direction,  a  curved  twill  line  is 
formed  which  is  converted  into  an  undulating  line  by 
combining  small  and  large  breaks  in  the  proper  order. 


8SSE 


8B8B 
SBSS 


GGDG 
GDGC 
UGGP 


rsssss: 


•::::*. 


„%,!!!!!!!! 


BSSSbh 


iBBSSBBS  "Sis 


::%  :s 

•  OC'BBB 
DBGBBG 
..   ••• 
•OBOBBGl 


HIM!    '  mil! 
mi   nuii 


•  • 

BG 


DBGB 

.  :s 

•»» 

C1BBLI 


•a 

HS      • 


.. 


DGCBBBB 

raBBBBac 
G 


BBBBac 
BBBBGGG 


:::sH§Hy  & 


SRRSRRRB 


ODQDUUUL 

GGGGGGGC 


GG 
GD 


aC 
GG 


RRRR 


DDGaaono 

HDGQGGGC 

naaanaaa 


s,l 


aaonujG 
DDDuuaa 
^-^  aaaa 
1  2 


••••HI 

•  MOGMMG 


HSS5HS 

::* .: 

MUG    IIB 

n      HIIJ 

)   '     1111  1 


Fig.  215. 


Fig.  2i6a  Fig.  216. 


217. 


Figs.  215,  219  and  220  are  deflected  twills. 

Fig.  2]  pa  is  the  cloth  made  with  Fig.  219. 

Figs.  216.  218  and  221  are  undulating  twills. 

Figs.  217  and  222  are  curved  twills. 

Fig.  222a  is  the  ground  weave  of  Fig.  222. 

Fig.  2i6a  is  the  foundation  twill  for  the  undulating 
twill,  Fig.  216. 

The  threads  enclosed  in  brackets  are  woven  in  un- 
broken order  and  between  each  of  these  and  the  adjacent 
group  is  found  a  break  in  the  twill.  The  number  indicates 
the  angle  of  the  twill  line;  No.  i,  45°,  etc. 

Each  weave  is  indicated  separately  by  (II). 


DEFLECTED,    UNDULATING    AND    CURVED    TWILLS 


49 


•  •••UUL 

•  BBGGGC 

;-   ^ 


BBBB 
•••a 


JGGBBG 


39H3 

BBSBBB 

-•••••oc 


nun      ii 
monnroo 


.::.: 

ssiiss" 

°°"" 


BBBB 

BBBnr 
BU-jn 
o-.aa 


SSI 


i  ii  mi 


•  •      • 
•  ••      • 
BBBJCBB 

IHIHII         HII 
Illll         Illl 
IIIIJ P     Hill 

-- 


luOOD 

jaaac 

DUUCJG 


1       2 


111         :m 

iiULJGiiiiGC 


iiimimii 


HHU83U 

mm 


nun 

u^un 


!!" 


"  DDDC 

Fig.  218  . 


i-ILJBBJLJLJBBV  J 

SSBSSSSS 

QGBnOBBB 


••••DCBD 

BBBODBGrj 
BBGOBUC.'B 
BQDBDDBJ 


cBjnrrBB 

•    ••BB 

CBBBB 


.. 

••••aaao 


219. 


s:s- . 


alsil 

Us 


Fig. 


BBBH      B 

S^'SSSSoSH 
BB'JDBGB 


•25' 


GBB 


rsg.1 


. 
BBGBfTBGn 


BGBOOCBB 

BHGBriBBB 
•         BH09 


UU  BaGBCGBBlGBGCBBLB  JCBBG 

Fig    220. 


•^»K3 

CBBBBLGB 


~BBBBLGB  nnGDC  BBB 

BBBB^GBQ  nOOGBBBB 

Ksassgy  gyg::ir 

Wr^l-lgimr^BB*^  DUBfBiBiBiB  — 

^j=Jy"^^"^j  QBBBBBOO 


BBDDGBBL 
BBOCBBB"]' 


Fig.  221. 


BaOBBBOO 
BqQBBQGD 

§8::s§R2 


diSi 

BBBBI 

BBBB 


•" 

DM 

•: 

Fig.    222a 


1-232 


BBBW"'PBB:~ 
BBGBBBJB 


,,!!! 


u_o.iii^ir 


BBBMBbBB 

iiiimmu 
ii  ii  ii  ii        IP 


iimimimi 

i        IIIIIMIII 


III  II 


BBGCBBBG 
BB.1ICBBBB 


UBBiJUUBI 

:IIi 

BBBBBI 

!l!!!!!!!!!l 


nii 

Fig.    222. 


.      ...........IHIIIIIIII 

ii   imlmiiiiiuiiuii 


BROKEN    TWILLS. 


These  are  formed  by  breaking  the  twill  so  that  a  fill- 
ing takes  the  place  of  a  warp  twill  and  a  warp  the  place  of 
a  filling  twill. 

Broken  twills  are  distinguished  from  deflected  twills 
by  having  the  warp  and  filling  twills  transposed  instead  of 
having  the  twill  line  merely  deflected.  This  transposi- 
tion is  repeated  at  intervals  until  the  pattern  is  completed. 

The  twill  line  can  be  broken  in  the  same  weave  in  the 
direction  of  both  warp  and  filling,  examples  of  which  are 
shown  at  Figs.  224,  232,  233  and  233x. 

To  avoid  having  too  many  threads  in  the  pattern,  a 
difficulty  that  is  very  apt  to  arise  with  these  weaves,  the 
ground  weave  and  one  thread  more  are  used.  Fig.  233 
is  an  example  in  which  the  break  occurs  every  n  threads 
and  the  ground  weave  covers  10  threads. 

Figs.  223,  225.  226,  227,  228  and  229  are  weaves 
with  the  twill  broken  in  the  direction  of  the  warp. 

Fig.  223a  is  the  cloth  woven  with  Fig.  223. 

Figs.  230  and  231  have  the  twill  broken  in  the  direc- 
tion of  the  filling. 

Figs.  224,  232,  233  and  233x  have  the  line  broken  in 
both  directions. 


Fig.   225. 


BROKEN    TWILLS 


DOVETAIL   TWILLS. 


By  dovetailing  a  twill  with  itself  or  with  a  different 
twill,  an  indefinite  number  of  twills  can  be  made.  This 
dovetailing  is  effected  by  alternating  one  or  more  threads 
of  one  weave  with  one  or  more  threads  of  another  weave. 
By  varying  the  point  of  commencement  a  new  twill  is  ob- 
tained. 

By  such  combinations  wide  diagonal  effects  can  be 
obtained  with  a  small  number  of  shafts. 

Figs.  234,  237  and  239  show  twills  obtained  by  dove- 
tailing a  twill  with  itself. 

Fig.  234  is  the  ground  twill.  Figs.  234a,  234b  and 
234c  are  twills  obtained  by  beginning  the  union  at  dif- 
ferent points. 


SS88822 
Fig.  234. 


Fig.  234a 


234c 


BS53 


Fig.  2363 


236 b 


LJGBXBXB 


235.       Fig.  235  a     gg 


:in.  :  :XB 

BG^XBXB 
XBXB    B 

•  XB    B       x 

BJBHGXHX 

BTIJXGX 


BXBXnUGC 
•  XC.'OnGBX 


JXBXBOBD 


^ 

X       'BOBX 


•    .BXBX 

B-]BXBX^CJ 
•XBXCJL.DC 

xanaoBx 


IXJXBJB'J 


BXBX 
XBX 

BXBXaa 

X'irjD 


•XBODDDX 

B  XBX    B 

^SSuBH 

BXB    •        x 


B3B~BXGX 


BX 

ax. 


jXG 


',:•• 

DBX 


B      BXBX 

XBXJUG 


CCJLJ  GGBXBXBL 
JGD  BXBXBOGr 
BX  BXB  5 


•  J 


•      BX»X 
BGBXBX 


- 
UUG 


BXBi  !Unr,'X 
B  JUOPXBX 
-;1i,  XBXB.) 

XBXB     a 
BXB     BGUX 


•-:.  JX:JXBD 

JXGXBGBO 


IE 


XB     B:  BX  OKGGBOB8 


236. 


Fig.  237  is  the  ground  twill.  Figs.  237a,  237b  and 
23 7c  are  dovetailed  twills  obtained  from  it. 

Fig.  239  is  a  ground  twill.  Figs.  239a,  239b  and  239C 
are  resulting  dovetail  twills. 

Fig.  238  is  a  twill  obtained  by  dovetailing  two  differ- 
ent twills,  Figs.  238a  and  238b,  together. 

The  separate  twills  are  indicated  in  these  weaves 
by  either  (II)  or  (X). 

Two  normal  twills  dovetailed  result  in  a  flat  twill;  on 
the  other  hand,  a  normal  twill  results  from  the  dovetailing 
of  two  63°  twills,  Figs.  235a  and  235b  from  Fig.  235. 


DOVETAIL    TWILLS 


53 


If  two  45°  twills  are  dovetailed  in  the  direction  of  the 
filling  a  63°  twill  results. 

Figs.  236  and  240  are  examples  of  dovetailing  twills 
in  which  each  has  a  different  number  of  shafts.  Fig.  236 
from  Figs.  236a  and  236!}.  Fig.  24Oc  from  Figs.  24oa  and 
240*0. 


: ::: 


MS 

BII^D 


!!:i!i:  si!  :u 

KKW 

:BS8Hg:8Q8:s 
su  b;i:!i: 


FB:FBC 

•  II    iin    an 
BII   MB   ma 


SsS! 


Fig.  237.        Fig. 

:s 

K8S 


BBD 

Sgg 

GGBB 


OBBBGCBO 

HS 

BOO 

Fig.  2383 


9aSRS553 

BGGBBBJO 
GCBBBGGB 

BBBGGBOO 

:•.'.: 

Fig.  239. 


SI 
3 
ass 


Fig.   240b 


CQGBBI 

GGBBB: 
•  •• 

BBB'  'GC 


•  •JO;  ••• 
BGOGBBBG 
QDDBBBGG 


•  • 


:s^s 


•  237b 

DGGIIBI 


Fig.  2370 


BBS 

DCBB 


1^13 


BIIB      B 

:g5SgSSB 


2?:§SgQB 
S§8£8r 


.;:: 


BIIBUBGGG  r  nan  _ 

sg^sssssie^ 

ngnioc    DCBDB 


HSHK 


.IBMB      » 

:H^SS 

•nnnnnBn 


!!8BS 


5g"8l8.! 


Fig.  238b 


Fig.  238. 


Fig.  23Qa       Fig.  239b       Fig.  2390 

RRBS5KS 


I     ••     •     I 

!•.)••:;•  .••' 
lanaaBBC 


UBULJB'JBJ 

CJB.~:BBGB 

r )":•    •  ,    • 

-- 


>   « 


::::. 

BBaiDGGG 
BBHB  . 


Jl      m'jma 

:     BBBB 
•  HBB 


•  •     •        ' 


BBB 

•  ••• 

•  ., :,  / 


•     BBI      B 
B     BB       B 


"JGL 
0,GGGG.j 


IBBB"" 


.  Si-iP 

"•BBB 
•  B     •    .     • 


£:• 


GGG 


Fig.  2400 


CROSS   AND    ZIGZAG    TWILLS. 


Cross  and  zigzag  twills  are  derived  from  regular 
twills.  The  first  named  shows  the  figures  of  a  cross,  the 
second  a  zigzag  line.  A  cross  twill  is  obtained  when  the 
twill  runs  a  certain  distance  in  one  direction  and  then 
without  joining  runs  in  the  opposite  direction. 

If  the  distance  over  which  the  twill  runs  in  one  direc- 
tion is  made  too  long,  the  cross  form  is  lost  and  a  stripe 
effect  obtained.  To  obtain  the  cross  effect  the  threads 
in  the  pattern  are  divided  into  four  equal  parts,  Figs.  241 
and  243. 

In  part  i  the  twill  line  runs  to  the  right;  in  part  3  to 
the  left,  Figs.  242  and  244. 

By  inserting  more  or  less  warp  risers  in  these  cross 
twill  weaves,  we  obtain  warp  twills,  Figs.  247  and  251; 
balanced  twills,  Figs.  246  and  250;  stitched  twills,  Fig. 
253 ;  or  fancy  twills,  Figs.  252  and  254. 


5 


SHHRt 


Fig.  241.        Fig.  242. 


Fig.  243. 


Fig.  244. 


GBn        •"•••"•• 


_, 

X-IL'BBOO 
LBGBJBG 


^LjBDBGBn  ••••••  QaxLJODlnDBQ  OCOJXBGO 

nxBacBB  BXB   •••  oooaaxGcloaoB  noBQDMca 

BGX[  •_,•  BBijXBBUB  G^xciDauniBauQ  n>»  QQGB 

BX-IL'BBOO  BXBOBBBO  nXJCDOGB  HOOD  B8JQOOBB 


X    •••JH>          XuiaDDDBUIDD 


Fig.   245.  Fig.  246.  Fig.  247.     Fig.  248. 


SgeSSS 

Fig.  249 


Cross  twills  are  also  classed  as  filling  twills,  Figs.  245, 
248  and  249:  warp  twills,  Fig.  247;  balanced  twills,  Fig. 
246. 

Zigzag  twills  are  obtained  by  uniting  two  twills  run- 
ning in  opposite  directions  in  such  a  way  as  to  form  a 
point  without  a  break. 


CROSS    AND    ZIGZAG    TWILLS 


55 


According  to  the  general  direction  of  the  zigzag  line, 
they  are  distinguished  as  cross  zigzag,  Fig.  255 ;  long 
zigzag,  Fig.  256,  and  diagonal  zigzag,  Fig.  257. 

The  last  named  form  is  obtained  when  the  twill  runs 
in  one  direction  farther  than  in  the  other/ 

These  zigzag  twills  are  also  divided  into  warp  twills, 
Fig.  260;  filling  twills,  Figs.  258  and  259;  balanced  twills, 
Figs.  261  and  264;  stitched  twills.  Fig.  263;  fancy  twills, 
Fig.  262. 


lODDD 

Fig.  255. 


GBGBB 


Rgg 


BBGGBGBX 

•aOBnaxB 

GHBGBXBG 
UBGBXB  'B 

"  BXB  B  > 

BXB  O  :!  I 
•  XB'  '•  /  B 

XB  a   am 


Fig.  256. 


B     BXB     B 

9    'BXB' 
IB     BXB 

IBHGBGBX 


B   • 
I   • 
I    B 

•  • 


•  -.••<_•  ' 
a  B   B  B 


Fig.  252 


SBBBXDBG 
•BXLJBCIB 

BBMGBOBH 
BXGBGGBB 
XLB  JLTJBB 


Fig.  253- 


Fig.  257. 


•  BB 
BB 


L-M^ 

arss 

BB    '•!    i    XBB 

•aroxB 


DDGKBBJG 
Mi    XBB    I!  -B 

XBBGGBGB 

Fig.  254. 


*BBGCBGB 
XBB    BB 


JXI 

HGJ 

IGGGXBI 


nr'x  :    B    :  . 

[    X     ,'    B         B 


_  DUB   B 

B    B    B 


IG<   1 

£3 

in:  i 


S5BSS85S 


BGBB 


BBB  BBB      BBI 

BGGB  BBBBGBI 

BBBBB      I 


BB   BBBBB 
B   KBBBB 


ss: 


BXXB. 


Fig.  258.   Fig.  259. 


•  »  • 

BBBB 

•  ••• 

B   BB 
BB   M 

•  BB  J 


Fig.  250.    Fig.  251. 


BB'  B 
BBBQ 


KB    ,BBB 
BOB      BB 
S  BBBBB      B 
BBBBB 
XX     X     XXX 
X     XXX     XX 
(  IXXXXX     X 


BB     B   .BBB 


B:  1BBBGBB 
BBSBB       • 


Fig.  .260. 


.::-n.; 

x:  :  xxx  i 
xx    xx 
'XXi  ];"  1C  ixx 

XXG    IXL J  _X 


BXBB      X 
X     B     BXBlBBXB 
BXBB     X     B       B     X 

JBBG!  'GBB  X     BJBXBB 

IJCB2CB  XBB^X^BG 


Fi.  261. 


Fig.  262. 


I    B         BBH 
XX         X 
XX     X  X 

XXX     X     X 
XXX     X    .X 
XXX     XX 


xx 


X      B      B 

XQB 
XXBBB 
XX     BBB     B 
X 
GGBG 


BBB     BBB 
••GDGBB 

••'inarir  a 


i!ir:^:- 

:SRS:« 


IGGB.JHU.J 

.     BGBGB   1 
m    »mm    m 

I  BBBBB  J 
BBB,  BBC3 
IL 


QG1 


Fig.  263. 


gggss 


IUG 
j!  'BB' 
BB 

BBBB 

XX          XX 

XX         XX 

XXJOXX     r 

XG     XX     CX 


i>  :  IB 

!"!•• 
IBBGCBB 


a 

53SS 

GG 


Fig.  264. 


EFFECTS    BY    CHANGING   POSITION 
OF   COLORS. 


As  with  plain  weaves,  color  effects  can  be  produced 
by  changing-  the  position  of  the  colored  threads  in  the 
warp  and  filling.  For  stripes,  warp  weaves  are  generally 
used  since  these  produce  clear  effects. 

With  filling  weaves  clear  cross  lines  are  produced  by 
the  proper  arrangement  of  colors  in  warp  and  filling. 

Figs.  265  and  266  show  color  effects  with  a  warp 
twill;  Fig.  267,  with  a  filling  twill;  Figs.  268,  269,  270  and 
271,  different  arrangements  of  colors  with  a  4-leaf  bal- 
anced twill ;  Figs.  268a,  269a  and  27ia  are  fabrics  woven 
with  Figs.  268,  269  and  271  respectively:  Figs.  272  and 
273,  with  a  broken  4-leaf  warp  twill ;  Fig.  274,  with  a 
broken  4-leaf  balanced  twill;  Fig.  275,  with  a  6-leaf  bal- 
anced twill ;  Fig.  276,  with  a  stitched  twill ;  and  Fig.  277, 
with  a  broken  diagonal  weave. 


Fig.  265. 


Fig.  266. 


Fig.  267. 


Fig.  268a. 


Fier.  26oa. 


FIP-.  2>7ia. 


EFFECTS    BY    CHANGING    POSITION    OF    COLORS 


57 


The  arrangement  of  colors  for  the  warp  is  indicated 
at  the  top,  and  for  the  filling  at  the  left  hand  side  of  the 
draft ;  the  weave  is  shown  at  the  upper  left  hand  corner. 


Fig.  271. 


:s 

IGHLH:_«D  «o«a 
i    ...     •   . 


Fig.  272. 


.... 

::::§R3!i 


BBBB 
BBBBGGGD 


BBBBBB 


••OCBBBB 

•        •••••• 


•  ••••• 

•••••• 


r:      mmmm 
r.mmmmm 


*•":•"•!•.•   » 

"oBBBBB 


Fig.  274. 


!xXxxx^ 
s    xxxx  :c 


xxx  :GXGX 
xxa: xcxx 

BGGXGXXX 


S..B 
aaa 


(JUGGOGOD 


BBBGBl'BB 


BHH 

Fig.  276. 


CLJ    .   >;  J 

i    ammmm 

B  J 


•  •ii    a.i 

«ll!ll 


Fig.  273. 


:B«« 
B.B 


uGauLt 

•• 


CJaDQjZDLOD 
••••OGOD 


em    mm    mm 

•••••• 

mmommamm 


mm    mmmm* 

BBGBBBBB 
•  •          II   •• 


IB!    BBI 

IBC  Bfll 

IBGUI  JC 


... • •      B 

mmcmm    » 

toOOBBDD 


Fig. 


&GGXXGX 
LXX  XX 
XX  XX 

x  xx  r  x 

XX   XX   jL 
XX      XX 


BBBB 

E  =  =  z 
•  ••• 


.._. 

SSSSdBSB 


•  BIIIIBB 

BBIIIIBBIIII 

BBIIIIBBIHI 


XXXXXBXX 
BBXXBBBX 
BBBXIBBB 
BBXXXBXX 
XBXXXXXX 
BBBXBBXX 
XBMBBBBX 
XXXXBBXX 


XXXXXBXX 
BBXXBBBX 
BBBXBBBB 
BBXXXBXX 
XBXXXXXX 
BBBXBBXX 
XBBBBBBX 

XXXXB.X  : 


Fig.  277. 


XXXXX1XX 
KBXXBBBX 
BBBXBBBB 
BBXXXBXX 
XBXXXXXX 
BBBXBBXX 
BBBBBBBX 
XBXXBBXX 


XXXXXBXX 
BBXXBBBX 
BBBXBBBB 
BBXXXBXX 
XBXXXXXX 


COLOR    EFFECTS    BY   TRANSPOSING 
TWILL   WEAVES. 


Color  effects  in  both  warp  and  filling  can  also  be  pro- 
duced by  transposing  twill  weaves.  After  long  and  cross 
stripes  have  been  produced  by  suitable  combinations  of 
warp  and  filling  with  twill  weaves,  it  is  not  difficult  to  ob- 
tain combinations  of  long  and  cross  stripes  by  combining 
warp  and  filling  weaves. 

The  method  is  as  follows :  The  figure  that  is  to  be 
brought  out  by  the  combination  of  long  and  cross  stripes 
is  painted  on  design  paper;  this  facilitates  the  drafting  of 
the  weave.  This  color  effect  is  shown  in  Fig.  278  by  (x). 

In  this  draft  one  square  may  represent  i  or  more 
warp  and  filling  threads. 

On  the  colored  surface  the  3-leaf  warp  twill  is 
now  drafted  and  the  remaining  surface  is  covered  with  the 
3-leaf  filling  twill,  either  straight  or  broken,  Fig.  278a. 
The  filling1  twill  will  give  the  reverse  effect  of  the  warp- 
twill. 

(Continued  on  page  60.) 


COLOR  EFFECTS  BY  TRANSPOSING  TWILL  WEAVES    59' 


Fig. 


Fig.  2780. 


xxxxxxx 

XXXXXXX" 

xxxxxxxx 

XXXXXXX - 

xxxxxxx 

xxxxxxx:: 

xxxxxxx 


xxxxxxxx 
xxxxxxxx 
xxxxxxxx 
xxxxxxxx 
xxxxxxxx 
xxxxxxxx 
xxxxxxxx 
xxxxxxxx 


XXIXXXXXXX 


Fig.  278. 


Fig  2;8a 


60         COLOR    EFFECTS    BY    TRANSPOSING    TWILL    WEAVES 


The  warp  and  filling-  pattern  is  either  one  light  and 
two  dark,  or  two  light  and  one  dark,  or  three  colored. 

This  arrangement  of  colors  gives  long  stripes  on  a 
warp  weave  and  cross  stripes  on  a  filling  weave. 

Fig.  278b  shows  the  color  effect  obtained  with  2?8a; 
the  warp  and  filling  patterns  are  indicated  respectively  at 
the  top  and  left  hand  side  of  the  draft.  Another  example 
of  this  color  effect  is  shown  at  Fig.  279,  in  which  279  is 
the  motive,  279a  the  two  weaves  combined,  and  279b  the 
color  effect.  Fig*.  278c  is  the  cloth  woven  with  Fig.  278. 

More  than  three  shafts  are  seldom  used,  as  the  tex- 
tures thus  produced  are  not  smooth. 

Figs.  28oa  and  28ob  show  an  effect  produced  by 
transposing  a  4-leaf  twill. 

Stitched  twills  can  also  be  used  for  these  effects.  See 
Tigs.  281,  282  and  282a. 


COLOR    EFFECTS    BY    TRANSPOSING    TWILL    WEAVES         6 1 


am    m»    m 

•••••••• 

gonaaocj;. 


Fig.  27 


Fig-.  2791, 


rjOCTj 

B88B_ 

ms" 

RSRSRBgR 


•nx   anx 

x    anx  : 

•DXQBOXG 
BIIXGBIIX 


DODG 


nx    nux  : 

•  IIX     BIIX 

nx    BIIX 

nx    BIIX 

•nx    «nx 

•  IIX      BIIX 


•  IIX      BIIX 
IIX      BliX 

OXS:RI§ 


^nnnn 


xxxxxxxx 
liSSSSII 

xxxxxxxx 


••••••    I         i 

••    •••    i 

•.::•-=: 

••piQaniQapiiiiiO! 


Fig.  28oa 


i 


Fig.  28ob 


Fig.  282. 


Fig.  281. 


Fig.  282  a 


SATIN    WEAVES. 


Satin  and  doeskin  weaves  give  a  fabric  with  a  smooth 
lustrous  face. 

The  twill  is  produced  whenever  a  warp  and  filling 
thread  stitched  together  lie  adjacent  to  another  pair  of 
warp  and  filling  threads  also  stitched  together.  In  other 
words,  whenever  two  risers  lie  diagonally  adjacent  to  each 
other  as  in  a  3-leaf  twill,  Fig.  130.  If  the  intersections  do 
not  come  on  adjacent  threads,  a  scattered  interlacing  of 
the  threads  is  produced,  called  a  satin  weave,  which  gives 
the  cloth  a  smooth  appearance.  The  greater  the  regu- 
larity and  the  more  the  intersections  are  scattered,  the 
smoother  the  cloth  will  be. 

The  luster  comes  partly  from  the  character  of  the  raw 
material  and  partly  from  the  floating  of  the  warp  and  fill- 
ing for  a  greater  distance. 

Satin  weaves  are  classified  as  regular,  irregular, 
stitched  and  shaded. 

The  drafting  of  a  filling  satin  weave  is  as  follows : — 
The  number  of  threads  in  the  weave  pattern  is  divided  into 
two  relatively  prime  numbers,  that  is,  two  numbers  which 
are  prime  to  each  other,  neither  being  equal  to  nor 
divisible  by  the  other.  For  example,  a  5-leaf  satin  is 
divided  into  2  and  3,  a  7-leaf  into  3  and  4  or  2  and  5,  an  8- 
leaf  into  3  and  5,  a  i3--leaf  into  2  and  11,4  and  9,  3  and  10, 
5  and  8,  etc. 

One  of  these  is  selected  as  the  rising  number  and 
from  each  stitched  thread  an  equal  number  of  warp 
threads  are  counted  to  the  right  along  the  line  of  the 
filling;  the  last  warp  thread  is  stitched  to  the  adjacent 
filling  thread.  The  next  filling  thread  is  then  stitched  in 


Fig.  283.  Fig.  284. 


SATIN    WEAVES 


the  same  order  and  the  process  continued  until  all  the 
warp  and  filling  threads  in  the  pattern  have  been  stitched. 
Figs.  283  and  284  illustrate  this  process. 

Fig.  283  is  a  5~leaf  satin  divided  into  3  and  2,  2  being 
used  for  .the  rising  number.  The  reverse  of  a  filling  satin 
gives  a  warp  satin  weave.  To  prevent  rolling,  the  selvage 
on  satin  weaves  must  be  woven  with  plain  weave  or  filling 
rib. 

Fig.  285  is  a  7-leaf  satin  in  which  2  is  used  for  the 
rising  number. 

Fig.  286  is  an  8-leaf  satin  in  which  5  is  used  for  the 
rising  number;  Fig.  286a;  the  same  with  3  as  the  riser. 

Figs.  287  and  288  are  I3~leaf  satin  weaves,  the  first 
having  3  and  the  last  4,  for  the  rising  number. 

Fig.  289  is  a  15-leaf  satin  with  4  for  the  riser. 

Figs.  290,  291  and  292  are  examples  of  warp  satin 
weaves. 


Fig.  285. 


Fig.  286. 


Fig.  286  a 


SS8HH 


BffiS 


Fig.  287. 


•QQQDDaO 


Fig.  288. 


Fig.  289. 


•BIB      •• 
XX      XXBB 

xXxxxS'S 

XXX   XBBB 
XXXX   BB 


IBB   BB 

BBBB          BBB   EB 


. 

•  I  _BJ»B_B_ 


•B  BBBB 
BBBB  BB 
•  BSBB 
•BB  BBB 
•  BBB  B 
•B  BBBB 


Fig.  290. 


BBB   BBBB 
SBBBBB  B 

BB  BVBBB 

BM  BBB 

BBRBB 

BBBOBB 

BB_BB_££B 

yBBBBB 
mmomm 

XXXGXXXB 

XXXXXX  B 

xx:  XXXXB 

XXXXX  XH 
X  XXXXXB 
XXXX  XXB 
XXXXXX 

*B"B"! 
•••••a 

•UBMHH 
••••GB 
9flBHB 
«BB  BB 
BBBBB 

Fig.  291. 


•"•••••• 

•••*••• 


XX  XXXXX 

xxxxxxx  •• 

assays"--1 


B  BBB 

••••• 


Fig.  292. 


SATIN   WEAVES   WITH    TWO    OR    MORE 
RISING    NUMBERS. 


Satin  weaves  with  several  rising  numbers  are  also 
made  according  to  fixed  rules  and  the  procedure  is  as  fol- 
lows:— The  number  of  threads  in  the  weave  pattern  is 
divided  into  two  relatively  prime  numbers  and  these  again 
divided  into  two  or  more  parts  which  are  used  for  risers- 
as  in  regular  satin  weaves. 

In  this  way  the  warp  pattern  is  increased  2,  3  or  more 
fold,  according  as  2,  3  or  more  rising  numbers  are  used. 
The  filling  pattern  remains  unchanged. 

For  example,  Fig.  293,  a  lo-leaf  satin,  is  first  divided 
into  3  and  7,  the  7  again  divided  into  3  and  4,  which  are 
used  for  rising  numbers  and  alternate  with  each  other. 

Fig.  294  is  a  30-leaf  satin  in  which  2  used  twice  alter- 
nates with  3  used  once. 

Figs.  295,  296  and  297  are  filling  satin,  Figs.  298  and 
299  warp  satin  weaves,  each  having  more  than  two  rising 
numbers. 


IRREGULAR    SATINS. 


The  stitching  in  satin  weaves  is  sometimes  arranged 
in  irregular  order  to  destroy  the  twill  effect  that  is  more 
or  less  visible  in  the  regular  satin.  There  is  no  rule  for 
drafting  irregular  satin  weaves. 

Figs.  300,  301  and  302  are  irregular  satin  weaves  that 
are  frequently  used. 

Figs.  300,  302  and  303  are  irregular  filling.  Figs. 
301  and  304  are  irregular  warp  satins. 


SATIN    WEAVES    WITH    TWO    OR    MORE    RISING    NUMBERS    65 


* 


EI 


Fig    293. 


Fig    294. 


Fig.  295. 

•••••• 

::•::::: 


Fig.  296. 


Fig.  297. 


mmm    mmmmimmmmmm    mimamammm 
mmmmmmmm\3mmmammm\m   mmt  mmm 
tmmmm 


mmmm 


m    ma 

•u 


•••••"•• 

Fig.  298. 


••••••••••••a 

•••••••••••• 


:•:::::.!:::*•::: 

Fig.  299. 


IRREGULAR  SATINS. 


Fig.  302. 


Fig.  304. 


STITCHED  SATINS. 


The  intersections  of  the  warp  and  filling  and  conse- 
quently the  firmness  of  the  fabric  decreases  with  the  in- 
crease of  the  number  of  the  threads  in  the  pattern.  For 
this  reason  satin  weaves  are  generally  drafted  on  a  small 
number  of  shafts. 

This  difficulty  with  the  larger  satin  weaves  can  be 
partially  remedied  by  adding  risers  in  the  filling  weaves 
and  removing  them  in  the  warp  weaves  in  such  a  way  that 
the  float  of  the  threads  will  be  shortened  without  destroy- 
ing the  general  effect. 

The  farther  this  process  is  continued  the  more  does 
the  weave  lose  its  satin  character  and  assume  either  a 
twill,  Fig.  309,  rib  or  other  form. 

Shaded  effects  are  produced  by  inserting  risers  at 
certain  intervals  in  the  satin  weave.  This  shaded  effect 
can  be  brought  out  very  clearly  by  using  contrasting 
colors  for  warp  and  filling.  Figs.  318  and  320. 

A  5-leaf  satin  with  2  picks  in  the  shed  is  usually  used 


. 

SB  B  •• 


••    n 


XX     X 
X     KB 

XOMD 


BHBH8 


3253S3S 

•  ••  » 


QBBOBGH 

SSHSSSS 


-  305- 


CBBGBB 
••••• 


Fig.  308 


BBSSaBSS 


Fig.  306. 


]HKj|g| 

m»mmcmm 
Fig.  307- 


BBDBBGBB 


B     BBBB      B 

BBB      BB      B 


BBOBBGBB 


•  ••*»» 
s.rss : 


XX     XXBI 

BXOKQ 


Fig.  309- 


IHHGBJBIBB 

CKHOBBlBB 

Fig.  310- 


Fig-  3°5a- 


Fig.  3o8a. 


STITCHED    SATINS 


6; 


in  place  of  a  lo-leaf  stitched  satin,   Fig.  308.     Various 
forms  of  stitched  satin  weaves  are  shown  at  Figs.  305  to 

3T7- 

Figs.  305a  and  3o8a  are  fabrics  woven  with  Figs.  305 
and  308  respectively. 

Figs.  318,  319  and  320  are  shaded  satins. 


Fig.  318. 


Fig.   320. 


CORKSCREW  WEAVES. 


Corkscrews  are  derived  from  either  satin  or  twill 
weaves.  They  resemble  rib  weaves,  but  are  distinguished 
from  these  by  having  the  rib  running  neither  across  nor 
lengthwise,  but  diagonally. 

Corkscrews  with  uniform  ribs  are  derived  from  satin 
and  twill  weaves  with  an  odd  number  of  shafts. 

Warp  corkscrews  are  obtained  by  adding  points 
either  upwards  or  downwards  from  the  risers  of  a  satin 
weave.  Figs.  321  to  325. 

Fig.  323a  is  the  cloth  corresponding  to  Fig.  323.  A 
filling  corkscrew  is  obtained  by  setting  risers  either  to  the 
right  or  left  of  the  risers  of  a  satin  weave,  Figs,  326  to 
329.  Fig.  3263  is  the  cloth  woven  with  Fig.  326. 

For  warp  corkscrews  satin  weaves  are  used  in  which 
2  is  the  rising  number. 

For  filling  corkscrews  the  smaller  part  of  the  number 
of  threads  in  the  pattern  is  taken  for  the  rising  number; 
for  example,  a  7-leaf  satin  is  divided  into  3  and  4,  a  Q-leaf 
satin  into  4  and  5,  3  being  used  in  the  first  and  4  in  the 
second  case  as  the  rising  number. 

The  reverse  side  of  corkscrews  is  nearly  the  same  as 
the  face. 

In  warp  corkscrews  the  filling  is  invisible ;  in  filling 
corkscrews  the  warp  is  invisible,  consequently  the  cost  of 
such  goods  can  be  easily  reduced  by  the  use  of  cheaper 
material  for  filling  in  the  warp  weaves  or  for  warp  in  the 
filling  weaves. 

The  corkscrews  so  far  described  have  but  two  ribs 
which  lengthen  with  any  increase  in  the  number  of  shafts. 
It  is  possible,  however,  to  make  corkscrews  with  four  ribs 
in  the  pattern,  and  being  smaller  they  produce  a  finer  face 
on  the  goods.  The  back  of  fabrics  made  in  this  way  is 
very  different  from  the  face,  but  the  feel  of  the  goods  is 
much  better. 

The  filling  satin  indicated  by  (x),  Fig.  330,  is  first 
drafted ;  the  best  results  being  obtained  by  using  4  as  the 
rising  number.  The  satin  risers  are  then  connected  by 
inserting  the  risers  indicated  by  (•),  then  the  resulting  fill- 
ing ribs  are  filled  in  as  indicated  by  (II).  Figs.  330,  331 
and  332  show  weaves  of  this  kind  in  common  use. 


CORKSCREW    WEAVES 


69 


Corkscrews  can  be  formed  by  dovetailing  with  itself 
a  twill  having-  an  odd  number  of  shafts. 


Fig.  3233. 


Fig. 


•••• 

CBBGBGBBOB 
B  B  BB  B  B 
m  t>m  m  mm 

mm  m  mm  m 
OBGBBGBCBB 
nxBGBGBBGB 
BGBaxBQBGB 

BGJSBGBBBBG 
KBDBDVBDBD 

Fig.  321. 


B      •      •      B.-C    3 


BC!BOBBOB 
•  BHOBOB 
m  m  m  m 

rBGBDBGB 

caoBGBxa 

rBGBBOBG 


Fig.  322. 


BSig 


:  . 


Fig.  323- 


BJGBJGBBUB 

BCBBGBGB 
•  •  •  •  • 

•  •  •• 

•  ••  • 

•  •  B  • 


B      B      BX      • 

BfJBXGBGB 

SXr  ••'".••    B 
B     B     BX 

CBGBXr'B 

DBXGBHBG 

HGBGBGBB 


B      MB 
BBB 

BGBCBD 

BGBB 
BGBBLJB 
GBGB 


IBGBGB 
m    ma 

S«B      B 
GBGBG 


UBDBCB 

Fig.  324. 


SBSSSSBS 
Fig.  326. 


BBDDOOnO 


DOGKBB 

SSSBSSSS 


BBBBB 
X.... 

X.B. 


Fig  327 


GGOOGaXB  BBB 
DXBBBBUG  G'JQ 
B  ;a  JCJOH  BBB 


•gBSgyyyg? 
ggggBgyy  yg! 

KBBBBGGG  GGC 

Fig    328. 


XBBI 

Fig.  329. 


U      II      II      XIBBB 

niiaxBBBclOGn 
•BBon  iialiiGx 

II      II      II      XBIBB 

aGXBBBGalGna 
BB  ii  nanlaaB 

I  II     II     XBBJBGII 

OBBBBGDGlnCO 
B     II     II     II      XIIB 

II  II      XBBBJ      II 

Fig.   330. 


r. ;;  lixL1. 


II      IIXdBBB 

•  •BB      II      II 

II      II      II      II 

II      IIXBBB 

XBBBB      II 


IIXI 
IBB 


lixi! 

BBBBU 


Fig    33T. 


hii 


il    II    II 
I   Jl     IIXB 


:: ;; 

h 

x'm 


ii   ii 
jii  ,ii 

IIXBB 
BBB  II 
II  II  II 
II  II  II 
IIXBBB 
BBB  II 


ii    IIXBBB 

IM! 

II     II    IIX 

IIXBBBB 

BBB    .11     II 

II     II     II     II 


II     II     IIXB 

IIXBBBB 
BB      U     II 

ii  v:  ii   nn 

II    IIXBB 

XBBBBGD- 
B     II     II     II 

naaaoGO 


332. 


CORKSCREWS  WITH  RIBS  OF  TWO  OR 
MORE  SIZES. 


These  weaves  are  obtained  by  using  floats  of  uneven 
length,  Figs.  333  to  336.  Fig.  333a  is  a  sample  of  cloth 
corresponding  to  Fig.  333. 

Corkscrews  with  two  different  sizes  of  ribs  require 
twice  as  many  warp  as  filling  threads  in  the  pattern. 

Three  different  sized  ribs  call  for  the  same  number 
of  threads  in  the  warp  and  filling ;  four  different  sized  ribs, 
twice  as  many  threads  in  the  warp  as  in  the  filling  pattern. 


335 


Fig.  333a- 


Fig.  338a. 


Fig.  342a. 


FIGURED  CORKSCREWS. 


Figs.  337  to  341  are  corkscrews  showing  figured 
effects. 

In  Figs.  337  and  339  the  twill  is  curved.  Fig.  338  is 
a  zig-zag  effect.  Fig.  338a  is  a  cloth  corresponding  to 
Fig.  338.  Fig.  340  is  a  corkscrew  with  a  graduated  rib. 
Fig.  341  is  a  mosaic  effect. 

Each  weave  in  a  draft  is  distinguished  by  a  different 
kind  of  type. 


g    340. 


Fig.  341- 


STITCHED  CORKSCREWS. 


Owing-  to  the  long  floats  of  the  threads,  corkscrew 
fabrics  made  with  a  large  number  of  shafts  handle  loose 
and  slazy.  To  remedy  this  difficulty  without  changing 
the  appearance  of  the  face,  single  points  (risers  or  sinkers) 
are  inserted  to  increase  the  number  of  intersections. 

In  warp  corkscrews  these  points  are  inserted  where 
the  warp  threads  float  on  the  back  and  in  Figs.  342  to 
348  are  indicated  by  (II). 

In  filling  corkscrews  these  points  are  inserted  where 
the  filling  threads  float  on  the  face,  and  in  Figs.  349  to 
353  are  indicated  by  the  white  squares.  Fig.  342a  (see 
page  70)  is  the  cloth  corresponding  to  Fig.  342. 

This  stitching  of  corkscrews  makes  the  rib  somewhat 
flatter  and  the  back  acquires  more  of  a  twill  character  and 
warps  so  woven  run  harder  in  the  loom. 

Warp  corkscrews  as  well  as  warp  satins  are  generally 
woven  with  the  back  side  up.  This  makes  the  weaving 
easier  and  gives  a  clearer  shed  and  better  goods. 


STITCHED    CORKSCREWS 


73 


*:  : 


IQBBQBUB  O 


a  »  •      • 
BBOI 


BGB 

a 


Fig.  342. 


•  !!•      •!!• 


BD 


I     III!     Ill  BGBBG 

:":„:":.  •:„:•• 
L™ 


•  III  •!!• 
I  •!!•  B 
BUBGBOB 


":!!:"!!! 

IIS      III! 

•  343- 


BBBUBB 
BQBBCB 


344- 


DBOBOBOB 

•  !!••• 


BCBPUBa 

m  mm  m 
•  •  •  ID 

OBGBnBB GBCBDBQ 

.:.•::„:":„:" 

•  •••!!•  QBDBGBG 

345- 


«,:;;:,,r 

BGBOBG 


s: 

BOB 


Fig.  346. 


(••••••III 

jBGBBGBDBDBJBG 

Fig-  347- 


s:s:. 

B 

Fig.  348. 


:.-: 


B      •• 

SSSbSS! 


?-  349- 


on  •   •• 

SR 


BBGBQDGG 

mL 

BCBBGBC 

gSBSSBi 
Fig.  35°- 


Mm 
:.- 


sgysss  gRs 

^SSS55BSSS 
Fig.  351- 


a 


nnoo 

SSSR 


- 
••I 

DG~C 


JBBDBBGG 

icnaacuB 

ffiSSSB 


CBDBBGBa 


5R3S 

CB 


jGnn 

]SS3 

IBBG 


gSSUSSSSgRS 


Fig.  352. 


Fig.  353- 


CREPE  WEAVES. 


These  are  obtained  by  inserting  risers  in  filling  satin 
weaves,  which  gives  the  goods  a  conglomerate  appear- 
ance. 

The  more  mixed  the  appearance  is,  the  better  is  the 
crepe  effect.  The  points  must  be  inserted  in  the  satin 
weaves  so  as  to  produce  neither  long,  cross  nor  diagonal 
lines  nor  figured  effects. 

In  the  best  crepe  goods  both  warp  and  filling  come 
to  the  surface  to  the  same  extent. 

Samples  of  crepe  weaves  are  seen  at  Figs.  354  to  362, 
the  satin  weave  being  indicated  in  each  case  by  ( x).  Fig. 
356a  (see  p.  76)  is  the  cloth  corresponding  to  Fig.  356. 

In  Fig.  363  the  satin  weave  is  drafted  on  alternate 
threads. 

Crepe  weaves  are  derived  from  plain,  rib,  twrill  and 
other  weaves.  The  ground  twill  is  first  drafted  and  then 
points  are  either  inserted  or  removed. 

Fig.  364  is  derived  from  a  plain,  Figs.  365  and  366 
from  a  rib,  Fig.  367  from  a  twill,  Figs.  368  and  369  from 
a  cross  twill,  and  Fig.  370  from  a  broken  satin  weave. 

Fig.  371  is  a  crepe  weave  obtained  by  dovetailing  a 
stitched  twill  with  itself  running  in  an  opposite  direction 
(a,  b). 


CREPE    WEAVES 


75 


Fig.  354- 


IGB 

l— 


Fig.  356.          Fig.  357. 


Fig-  358. 


Fig.  359- 


Fig.  360. 


r  B   BBI 

BBXUBl 

r%H.s: 


XGBBGBBGlGGGOBXa 

Fig.  361. 

™§*^B282ii:%- 


UK 

x" 

B         X. 


mm 

KBBKQ 

Fig.  362. 


aun 


BBBB 


B   IUXBB 
•UUB.jBBB 


nBti'nBB1 

Bu.ll1l.lB;    •!  1 

.:    ..     '     KB     I 

rjBi  jB'.-iri;  IB 


B:  ril'iBi  M J 


•  DBLIBXBiJ 
.' 

no 

m    m    m 


IGU 
OnBHB 
i.  ;B!  J 
GL'B-1 


Fig.  364- 

•;«:: 

mm  .;•  BH   B 


B  .B  ••:! 
BB  ••  < 
BBBB 


Fig.  365- 


:: 


Fig.  366. 


BBBB 

B  a  •    i    • 

BB          B          B 

BBCjUL.BB. .' 


B.  ,\    BB      BX 

B      BXB          B 

XB     BB 

BX:  I;  T'BBP 
XB      BB          B 


"..•Kb!1 

'BB'  '{       •• 

•  B.      BB 
B      BBB         B 

BB      BB 

•  •  ••'  XX 
..      .B          B  XX 


Fig.  367- 


Fig.  368. 


Fig.  369. 


•  nriB 

MJS 


si 


.^i.r,n^ 

BBGnBBB 


JOB' 

TT'XB 


•  •'  .1 
BBBC 


GDGBai -. 

bnumm~i  m 


:•  •. 

BBX 


:Sx"§£?§ 


B.I 

I.         I 


SSSB3S8&.S8 
Fig.  3/0. 


Fig.  371- 


FIGURED   WARP-SATIN    AND    CORKSCREW 

WEAVES. 


In  both  warp-satin  and  warp  corkscrew  weaves  the 
rilling  is  nearly  invisible.  This  enables  the  designer  to 
produce  figured  effects  by  bringing  the  filling  to  the  face. 
The  effect  is  heightened  by  using  contrasting  colors  for 
the  warp  and  filling.  The  contrast  must  not  be  too  strong, 
otherwise  the  filling  will  show  through  the  warp  in  the 
ground  work. 

A  weave  with  a  polka  dotted  pattern  is  shown  at  Fig. 
372.  Fig.  372a  is  the  motive  tffat  is  transferred  to  the 
weave  draft,  Fig.  372.  The  motive  has  4  threads  and  the 
weave  draft  28  threads  in  the  pattern,  consequently  each 
thread  in  the  motive  corresponds  to  7  threads  in  the  draft 
and  the  dots  are  produced  by  causing  the  filling  to  float 
as  shown  by  (x).  Fig.  372b  is  the  cloth  corresponding  to 
Fig.  372.  Figs.  373  and  378  are  figured  effects  on  a  warp 
satin. 


: : 


BXXXXX 

ZSSSSi 

DB 


BaBOBO  BBCJB 


aBBGBOB 

•  •  •  • 


•XXXXX 

BXXXXX 

•  BBB 

B   •   B   • 


•  BBB 


•      BBB 

HBHBBGB 
GBBGBGB 
BGBDBGB 


IGBUBB 
IHBBGB 
IBGBDB 

1*5  • 


m  s  mm 

GBTIBBGB 
ZIBBGBGB 

:R:SS:" 

GBGB" 


mm  M  m 


IDBGBn 


•   • 
GBGBB 


QIX8XMM 

•XXXXX 

•  *  •  • 

' 


IGB.'JBC 

;  •  • 


•  GBf.JBB 

a    mm    m 

BBBB 


^BBOBOB 
BGBGBOB 
BOBDBBa 


•QBBGBG 
BBDBaBG 


372. 


DDHB 

n«na 
na«a 
•ana- 


Smmmm 
mmammmm 

£  mmmm  me 
•  •••• 


m   mm 


•      ••XX    '• 

.  I       BBBB    !•• 

mm    mmmm 

BBXX      ••• 
P      XXBB      • 

•••    ««xx 


••••XX 
XX   •••• 
XXBBGBBB 
•   BBXX   • 
•BB   XXBB 


• 
•••••• 

mma*  m 


(BBXX   • 
_  BB   XXBB 


m  mmmm  \ 
mam  mmmm 


>:>:••••  i 

XXBB   BBB 
••XX   • 

S  XXBB 

•fl  MB 


.1  XXBB   • 

•BBHBBBB 

XXCBBBBG 
KXBBGBBB 

•a 


•  BX 

B   BBBB   X  X 

•XX   BBBB 


:  '••XX 
••••XX 
X   »••• 
XBB   BBB 

BBXX     :• 
••      XXBB 

•9B      •• 


••••*• 


mm*    same 


•  rjBBBB 

•  XX   BB 


:•:: 

Qi5«J 


•  ••'   mm 

•  •Bit    ) 

mm    mmm 

mmmm    m 

mmmm 

••    •• 

•  ••• 


Fig.  373- 


Fig.  356a. 


Fig. 


Fi 


FIGURED    WARP-S^TIN    AND    CORKSCREW    WEAVES 


Figs.  372,  374,  375,  376  and  377  are  figured  effects 
on  a  warp  corkscrew.  Fig.  377a  is  the  cloth  correspond- 
ing to  Fig.  377. 


BQBOB 


ICBCBGBG 
BDBGBCBG 


B"5::B~BC 

•  B  IS   B 

•  •   »   •• 

BXXXX*  * 


2BDBGBDB 


•  •  BXX 


XXB  •  • 

;  s  :  :. 

•   BXXXXB 


XXXB  •  • 

g:3:38§: 

B   BXXXX 

•   ••   • 

DaBaBDBa 


:=•:::;;:: 

BGB3BQBB   •  •  •  « 


::.=: 

•  CBDB 


g-  374- 


Fig.  375- 


•BGBBBBC 
•••••• 


Fig.  377- 


•  ••     ••     •   ••»•£•    •••••• 

•  •  '  ••••        ••      "BOB       BB      BBBtf 

.:::: ::.::;:  ::.::s: :: 

Fig.  378- 


-:••••:'•• 

•:i.:::: 
:I!I5:!! 


COLOR    EFFECTS. 


The  appearance  of  the  goods  woven  with  satin 
weaves  can  likewise  be  changed  by  using  different  colors 
in  warp  and  filling.  With  decided  warp  weaves  the  colors 
are  introduced  only  in  the  warp,  since  the  filling  is  almost 
entirely  invisible  and  consequently  the  introduction  of 
more  than  one  color  in  the  filling  is  useless  and  sometimes 
injurious.  Warp  satin  and  warp  corkscrew  weaves  serve 
for  stripes  and  the  effect  is  changed  by  varying  the  ar- 
rangement and  shade  of  the  colors  in  the  warp ;  the  filling 
is  usually  made  with  one  color.  Beautiful  effects  can  be 
produced  with  corkscrew  weaves  in  combination  with 
colors  in  the  warp. 

BUBBIlBBIIflBIlBBIIBBnBBIlBBIJa 
BOBBUBBUBBIIBBDBBDBBIIBBIIfl 
BBBBUBBtlBBOBBIIBBIIBBIIBBnB 

553SSSS! 


run ou   • 

BDBaunBnGBGBnOBGIIGBGBBLB 
BGBGDBGnGBGaBGBGIIGBnGBGB 
BGBBGBGOGBanBGBGOBGnGBGB 

•iiG^:gg5gug:ggSBrLjiG-uj 

IGBGBGDBGIlGBni 


Fig.  380. 


Fig.  383b. 

Figs.  380,  381  and  382  are  examples  in  which  the 
warp  pattern  is  indicated  at  the  top  of  each  weave.  Fig. 
379  is  a  stripe  effect  produced  by  colors  in  the  warp  of 
the  satin  weave.  Patterns  produced  by  the  use  of  more 
than  one  color  in  both  warp  and  filling  are  shown  at  Figs. 
383,  384  and  385. 


COLOR    EFFECTS 


79 


Fig.  383  is  the  weave;  Fig.  383a  shows  the  color 
effect. 

Fig.  384  is  the  weave;  Fig.  384a  is  the  color  effect. 
Fig.  385  is  the  weave;  Fig.  385a,  the  color  effect.  Fig. 
383)3,  on  opposite  page,  shows  the  cloth. 

The  warp  pattern  is  shown  at  the  top,  the  filling  pat- 
tern at  the  left  of  the  drafts  showing  the  color  effects. 


•XBXXXXXXBKBBXBXXXXXXBXB 
BXBXXXXXXBXBBXBXXXXXXBXB 

KKxxxSxgxKx.xxxxxx.'xg 

HaXOXBGB 


g»ggbsaiIa53i5IIoIalGi 

P^g^S§|gSSgS'dgRli§xE: 

CXBGXGXagBGBDXr.'HMaXi'iX^XB 

sg:gsggB8:B:sgS88§sgg:3: 
:g5sggs:ggs§:s:&%s8sg:Sg 

nKDHaKXGMaXQBHDHGHDBSiGMa 

BgggSgiggggggSgSgSSSggSg 
BgggSSggBgggggggggMgggg 


Fig.  381. 


XKBBXXBBXXB 


XXXXXXXBXXXXXXBI 
XBBBBBBBXXBBXXBBBBBB 


XXBBXXBBXXXXXXBXXXXX 
XBBXXBBXXXXXXXBXXXX 

GXXBB 


BBBBGGGGBBBBXXBBXXBBBBBBBXBB 
XXXXGD  :  XXBBXXXXXXBXXXXXXXBB 
]"  C1XXBBXXXXXXXBXXXXXXBB 

3GGBBBBXBBBBBBBXXBBXXBB 

XXXXXXBBXXBBXXXXXXBX 
DXXXXXXBBXXBBXXXXXXXB 

BBBIGGchxXBBXXBBBBBBIXBBBIIB 


Fig.  383  a 


XBX3 

..  BBBBBBXX 
BIBXXBBVBBBXXMB 
BBBXXBXHBIBXXVX 
BXBBXXXXBXBBXXXX 
XXBBXXXXXXIBXXXX 
BBXXXXXXBBXXXXXX 
-•XBXXXXBBXBXXXX 
•••XBXXBBBBXBXX 


••XXBXBBBBXXBX 
BBXXXXBXBBXXXX 
•BXXXXXXBBXXXX 
•XXXXXXBBXXXXXX 

GGG»xaxxxxBBxaxxxx 


••X«XBX««XBX«XBBXBXBBXBBXB«y 
••XBXBXBBXBXBXBBXBXBBXBBXBBX 
•BXBX.XnXIXBXBBXaXBBXBBXBBK 


ig-  383. 


Fig.  385. 


XXXIflXXXBBXXXUBy. 
XXXBBXXXBBXXXBBX 
GXXXBBXXXBBXMXBBX 

XXXBBXXXBBXXXBBX 


BBIBXIXXBXBBBIX 
•XBaiBXBXXBXBBB 

XXBXXXXXXXXXBXX 
XXBBXXXBBXXXBBX 

XXXXXXXXXBXXXXXX 
BXBaXBBBBXBXBBX 
BXBBXBXBBBBXBBX 

XXXXXXXXBXXXXXXX 
XXBBXXXBBXXXBBX 

xxxaxxxxxxxxxax 


Fig.  384  a 


Fig. 


DRAWING-IN    DRAFTS. 


The  drawing-in  shaft  is  of  great  importance  in  shaft 
weaving.  Tt  enables  large  patterns  to  be  woven  on  a  shaft 
loom  that  would  otherwise  require  a  jacquard  head. 

The  advantages  of  a  practically  arranged  drawing-in 
draft  are: 

1.  Reduction  of  the  number  of  shafts, 

2.  Easy  manipulation  by  the  weaver, 

3.  The  production  of  designs  having  a  large  number 
of  threads  in  the  pattern, 

4.  Advantageous  distribution  of  the  heddles, 

5.  Saving  of  the  warp  yarn, 

6.  A  clear  shed. 

In  reducing  the  number  of  threads  by  cross  drawing 
the  warp,  the  threads  intersecting  the  filling  in  the  same 
order  are  drawn  on  the  same  harness. 

The  harnesses  with  the  greatest  number  of  heddles, 
also  those  carrying  the  threads  making  the  greatest  num- 
ber of  intersections  with  the  filling  are  placed  in  front  next 
to  the  reed. 

The  shafts  with   the  least  number  of  heddles  and. 


DRAWING-IN    DRAFTS 


8l 


Shafts 


Reed, 


Weave 


ODDGDQD 

looacnoc 

IDDDGDnn 


JcbdHyH 
Fig.  386. 


ODD 
ODD 
HDD 


HDD 

Q 
| 

B 


.  389- 


Fig.  390. 


36a 


LJDC •  [ 

S8SSS 


mS 

tmm 
cmm 


Fig.  392. 


•OOCBBDQ 


82  DRAWING -IN    DRAFTS 


those  carrying  the  threads  making  the  smallest  number  of 
intersections  with  the  filling,  are  placed  at  the  back. 

To  make  the  drawing-in  draft  more  readily  under- 
stood by  the  weaver  it  is  drafted  in  the  direction  in  which 
the  twill  runs.  The  number  of  shafts  depends  somewhat 
upon  the  set  of  the  fabric;  the  more  threads  there  are  in 
the  warp  the  more  shafts  are  required  in  order  that  too 
many  heddles  may  not  come  on  individual  shafts  and 
cause  chafing  of  the  yarn  in  the  harness. 

Drawing-in  drafts  are  either  straight  or  cross. 
Straight  drafts  are  shown  at  Figs.  386,  387,  390  and  391. 

Various  forms  of  cross  drafts  are  shown  at  Figs.  388, 
389  and  392  to  398 : 

Scattered  or  satin,  Fig.  388. 

Pointed,  Fig.  392. 

Broken,  Fig.  393. 

Grouped,  Figs.  389  and  394. 

Double,  Fig.  395. 

Manifold  or  Corkscrew,  Fig.  396. 

Divided,  Fig.  397. 

Intermittent,  Fig.  398. 


DRAWING-IN   DRAFTS 


<xxx 
.xx*x 


Fig.  394- 


Fig.  395- 


§   Fig.  396. 


397- 


Fig.  398. 


PIN  CHECK  WEAVES. 


These  form  small  squares  or  dots;  the  smaller  the 
squares  the  better  the  appearance  of  the  goods.  For  this 
reason  these  weaves  are  specially  suited  for  close  set  fabrics 
made  with  fine  yarn. 


Fig.  399.         Fig.  400.  Fig.  401- 


Fig.  402. 


i 


i 


Fig.  4Oia. 


Fig.  4i2a. 


The  color  pattern  is  made  to  correspond  to  the  weave 
pattern.  Balanced  weaves  with  either  4  or  8  shafts  give 
the  best  results. 

Figs.  399  and  400  show  the  method  of  drafting  a  pin 
check  weave.  At  "a"  is  the  ground  weave;  at  "b"  this 
weave  is  reversed  the  warp  taking  the  place  of  the  filling 
and  the.  filling  the  place  of  the  warp ;  at  "c"  and  "d"  the 
weaves  are  the  reverse  of  "a"  and  ub". 

Figs.  400  to  412  show  the  more  frequently  used  pin 
check  weaves. 

Fig.  401  a  is  the  cloth  woven  with  weave  shown  at 
Fig.  401. 


PIN    CHECK    WEAVES 


Fig.  4i2a  is  the  cloth  corresponding  to  Fig.  412. 

In  pin  check  goods  the  warp  and  filling  should  have 
the  same  set,  that  is,  the  same  number  of  threads  per  inch, 
and  the  warp  should  be  reeded  so  as  to  divide  the  weave 
pattern  into  even  sections. 


Fig    403. 


Fig.  404. 


HOOOKMMO 
1CBXQHOQO 

GDXCML.XB 
XXUXLKLIU 


Fig.  405. 


Fig.  406. 


Fig.  407. 


Fig    408. 


mm 


GCBZBBGB 

BSSHiSH 

BB  GBQnBGBB 
JO  BGBBJBDn 
BB  GGUBGBBB 


UB""BG 


..:  :• 


•  ••»• 

ZNgasssr 

B;:BoaBBr: 


Fig.  409. 


xgagaxxx 


XDXXXDUG 
XaXQDKXD 
XDKQXGxa 
UBQBDBQtf 


&i£& 

Ksssr-rb  ssssssss 


S8K5? 

resessss 


sysssaGi 

IBGBGBBC 

igSSSs^ 

iBGCu:.iL;i 


KQBOBBBG 
MOBDBDOB 
MOBOBOBG 

DBGBCB 


SSs 

gHsv; 


_BQG 

:BQ" 


,.^ 


Fig.  410. 


i  joascnxxx 
xxsx  .:. 

QLJXXXX 
DXJDC 


xxs 

i.DQL 
XK8 


SSSS55.'1 ...: 


Fig    411. 


Fig.  412. 


CHECKERBOARD    WEAVES. 


These  are  pin  checks  made  on  a  larger  scale.  They 
show  balanced  twill  lines  radiating  from  a  central  point  as 
at  Fig.  413.  or  a  regular  checkerboard  effect  as  at  Fig. 
420. 

For  the  first  named,  balanced  twills  only  are  used, 
Figs.  413,  415  and  416. 

Fig.  414  shows  the  color  effect  obtained  with  Fig. 
413  by  alternating  two  light  and  two  dark  colors  in  both 
warp  and  filling. 


Fig.  416. 


nBBBBDBBiBBannai 

BBBCiBBBBuBGB.GL 

BLJBBBBGBlBBnnnBC 
BBBBDBBBl  B 


_ 

S525S5 
SSSS3SSS 


nao 

BGBCBGB1; 
•    •    a    • 


SS55SS5S 


SgggiSgg 
iggSSgg 

DBBGGBB 
BBGGBBGG 
GGBBGGBB 


QBGBGBGB 
GBGBGBGB 
BDBDBGBD 
H  B  •  B 


Fig.  417. 


Fig.  418. 


CHECKERBOARD    WEAVES 


Fig.  421  is  a  combination  of  a  basket  and  twill. 

At  Fig.  415  the  weave  or  loom  chain  is  shown  at  "a" ; 
the  drawing-in  draft  at  "b";  the  method  of  reeding  at  "c" 
by  (X);  the  weave  pattern  at  "d".  "i"  indicates  the  first 
and  "24"  the  last  pick  in  the  filling  pattern  chain. 

For  the  genuine  checkerboard  patterns,  as  at  Fig. 
A.  page  90,  all  pronounced  warp  and  filling  weaves  are 
used,  Figs.  417.  419  and  420.  The  draft  is  made  as  at 
Fig.  413,  but  instead  of  reversing  a  balance  twill  the  ef- 
fect is  produced  by  alternating  a  warp  with  a  filling  weave. 

A  checkerboard  effect  can  be  obtained  with  a  rib  or 
-  with  a  corkscrew  weave  by  alternating  the  regular  weave 
with  itself  turned  around  90°,  Figs.  418  and  422. 

The  effect  is  obtained  by  the  alternate  appearance 
of  the  warp  and  filling  on  the  face,  and  can  be  greatly 
increased  by  using  contrasting  colors  in  warp  and  filling. 


•••••• 

UnBOHBDC 

••   ••   •• 

••     ••OMB 

i  DOB;  ;OBUQ 

*•!>••• 


.  %.:?3ggS 


3n«nnHDn  •DOB 

IBGBBaHB  DBBG 


DBBODBOC 

ssssssss 


B 

B 

•   •• 


S3S2SS 

•oaanrj 


Fig    419. 


s: 


Fig.  420. 


r.ss-.s 


421 


Fig.  422. 


IRREGULAR  CHECKS. 


Various  designs  are  produced  by  grouping  small  and 
large  squares  and  oblongs  made  by  alternating  warp  and 
filling  weaves. 

The  motive  is  first  drafted  as  at  Fig.  4233.  for  Fig. 
423,  and  Fig.  424.3.  for  Fig.  424.  The  motive  is  then 
transferred  to  the  drafting  paper  to  cover  the  number  of 
threads  already  decided  upon  for  the  pattern.  Each 
square  in  the  pattern  must  contain  an  even  number  of  the 
ground  weave  patterns.  The  warp  weave  is  then  drafted 
on  the  colored  squares  and  the  filling  weave  on  all  other 


I 

DBBGiB 
IDBCJOBD 

IDBDOBQ 

Fig.  423  A 


iflXBBB  BBBBB 
DBBBBBGBBBBB 
GBBBBBGBBBBB 
__GBBBBBGBBBBB 
GGGBBBBBCBHHBH 
BBBOQUGOBaOGGn 
GBBBBBGBBBBB 
C.BBBBBGBBBBB 
DBBBBBGBBBBB 
BDGGGCBBBBBGBBBBH 

DBBBBBoaaQQBna 


•BGBBBGI 

?EBB      HB 
BBBL'BBB 


E   BBB   KB 


BBBBB  HBBBB 

BBBBBPBBBBBG 
BBBBBOBBBBB 


•  DQDBBBG  BDQGBUGG  BBBGBDGG 
GBDGBBGB  QBDDGBDG  BBGBDBDD 
GDBrBLJBB  CGBQGGBG  •GBBDQBG 

""BBBGDGB 

DBBBnr°?2 


••£! 


S5S 


BBGBGDD 
BBB  )Q 

J 


Fig.  424  a 


'BBnnnnm«nr-B''B^BBnrBBBB  •:  .BB  B  "• 
'OBBBB^GBBGB  •  B/'GBBQ-GGBB;  opnBn 
•  '  ^''' 


4^- 

sssssssRssssas 

aaBBBBGQBByB 


KBI 
Bl 

Fig.  426. 


B 

BBBaBGB 

SBBOBGBCDDa 
BBaBCBnnaa 

L  BBBB     H     B:V     }\ 

m  B     B    'BBBB 

BBBBGBGBGDHO 
-•:  ••GBGBGBBBB 
BBBB  B  •;  '  :  . 


IRREGULAR    CHECKS 


89 


squares,  Figs.  423  and  424.  Fig.  424b  is  the  cloth  woven 
with  Fig.  424. 

The  white  sgaces  at  the  top  and  side  of  Fig.  424  indi- 
cate that  the  threads  opposite  each  are  taken  4  times. 

Other  motives  are  shown  at  Figs.  425,  426  and  427. 


Fig.  424- 


-::? 


Fig.  42^. 


HONEYCOMB  WEAVES. 


The  high  and  low  parts  of  these  characteristic  fabrics 
are  formed  by  different  intersections  of  the  warp  and  fill- 
ing. 

Where  the  warp  and  filling  threads  float  the  farthest 
they  lie  on  the  face  of  the  fabric  causing  a  raised  effect. 
Where  they  intersect  each  other  frequently  the  low  parts 
of  the  honeycomb  weave  are  found. 

For  this  reason  these  weaves  require  a  certain  group- 
ing of  loosely  and  tightly  intersecting  threads.  Their 
construction  is  shown  at  Figs.  428  to  433. 


: 


£.£&&&• 


Fig.  A.      See  page  87, 
Checkerboard    Pattern, 


Fig.  4z8a, 


Fig.  428a  is  the  cloth  corresponding  to  Fig.  428. 

In  all  of  the  above  mentioned  drafts  except  Fig.  430, 
two  diagonal  twill  lines  are  drafted  over  the  warp  pattern 
and  are  shown  by  (x).  One  of  the  enclosed  squares  is 
then  filled  in  with  warp  risers. 

Figs.  434  to  437  are  other  examples  of  honeycomb 
weaves. 

By  using  yarn  that  can  be  felted  or  shrunk  the  honey- 
comb effect  is  heightened  in  the  finishing  process. 

Beautiful  effects  can  be  obtained  by  using  bright 
colors  in  the  warp  and  filling. 


HONEYCOMB    WEAVES 


jglSSSSSBSSS 

fesrassss 


Fig.  428. 


s§gg 


Fig.  432. 


Sg§E 


mem 
•npniiud 


nxnx 

g 

x 


Fig.  433- 


w*s 


XBXBX  X 
XBXBXBXB 


383 


Fig    435 


,        DBB      B 
'  .BBBBB     • 
B     BBB     B    : 


•xix 


•B«X     BBM 

BBBGBGBB 


xis^» 

GXGBGC 

Fig.  436 


nmmm    m 

BBB     • 


BBB 


B      B      «»B 
BBGBBBBB 
•    e    «•• 


»•*••• 
•••••• 

•••••• 

•  •    ••• 
•    •    •    • 

•  e    •    •   . 
."•'   BJCHB 
•CB    POC:G 


,     , 
xa 

X 


X     XBX 

X     XBXBX 

GKBXBXB 


X     X»XBX 
X     X     XBX 

:x    x    x    x 


. 

2TOSS 


X~X 
X     XBX     B 
XBXBB 


B     BBB 


B     B     B     B 
B     B     B     B 
" 


Fig    437 


HAIRLINES. 


It  is  frequently  necessary  to  produce  hairline  effects 
.at  certain  places  in  the  design.  For  this  purpose  the 
weave  is  drafted  to  fit  the  color  pattern. 

The  motive  is  first  sketched  and  then  the  warp  color 
pattern  is  arranged  to  correspond. 

The  filling  pattern  is  then  drafted.  The  colors  in 
the  filling  must  be  in  the  same  proportion  as  those  in  the 
warp.  The  color  that  forms  the  greater  part  of  the  warp 
must  also  form  the  correspondingly  greater  part  of  the 
filling. 

For  example,  if  the  warp  is  composed  of  two  colors 
in  equal  proportions,  the  filling  pattern  will  be  i  and  i 
or  2  and  2.  If.  however,  there  should  be  three  times  as 
many  threads  of  one  color  in  the  warp  as  of  another  the 
filling  pattern  will  be  3  and  i,  that  is  to  say,  three  picks 
of  one  color  predominating  in  the  warp  and  only  one 
of  the  other  in  the  pattern. 

The  weave  is  now  drafted  in  such  a  way  that  the 
warp  threads  of  one  color  always  intersect  the  filling 
threads  of  the  same  color.  In  this  way,  all  of  the  filling 
threads  of  one  color  in  the  warp  are  raised  over  the 
threads  of  a  different  color  in  the  filling  and  lowered 
-only  under  the  filling  threads  of  the  same  color. 

Where  several  colors  are  used  in  the  filling  each 
thread  must  intersect  the  warp  but  once  in  the  warp 
pattern. 

Figs.  438  to  444  are  examples  of  hairline  weaves. 

Figs.  441  and  442,  each  show  two  filling  patterns  for 
the  same  hairline  effect. 

The  warp  pattern  is  shown  at  the  top  and  the  filling 
pattern  at  the  left  side  of  the  draft. 

Fig.  44 1  a  is  the  cloth  corresponding  to  Fig.  441. 


HAIRLINES 


93' 


Fig.  438. 


Fig-  439- 


Fig.  440. 


•  i 


•oiaxB 
•    HXPH    • 

XBXH      X« 
•XBX     BXB 


•  X     XBI 


•  x«»    • 

s«ai? 


ix    x 


_  "  • 

s::§ 


joorj 

39sg 
^ 

x»« 

X«      X 

»  •" 


CSBS 

^:.x 

:•!« 


•  ma    mm 


IIXB1IIXBC     IX*     IIXM 


!!•! 

ill! 


XII      HXII      • 


Fig.  442. 


388858s 


mm        mm 

m  m  m  m 


^^wywu^d 

•    •••    ni 

•  •a    ••) 

p»    •••    i 


:  » 


II 


443- 


:  i:: 


.n-.cu.,, 

•  II  • 
•nr« 


Fig.  444. 


Fig.  4413. 


Fig. 


PATTERNS  MADE  BY  VARIATIONS  OF 
SINGLE  WEAVES. 


Large  weave  patterns  are  made  from  a  single  weave 
by  a  variation  of  the  drawing-in  draft  and  by  reversing 
the  weave  in  the  direction  of  the  filling.' 

Figs.  445  to  A  50  are  examples  of  these  effects. 

Fig.  445a  is  the  cloth  woven  with  Fig.  445. 


BBaOOBBIBCDDBBBC 
DBBBaBBBlBBDBBBDa 
•  •••••{••••••  DC 


BSBB5S 


Fig.  445- 


The  drawing-in  draft  is  shown  at  the  top,  the  reversal 
of  the  .weave  in  the  filling  at  the  side  and  the  ground 
weave  in  the  upper  right  hand  corner  of  all  except  Fig. 
450,  where  it  is  shown  in  the  upper  left  hand  corner. 


PATTERNS    MADE    BY    VARIATIONS    OF    SINGLE    WEAVES     95 


Fig.  449. 


Fig.  450. 


COMBINED    WEAVES. 


A  large  number  of  weaves  are  capable  of  being  com- 
bined in  the  same  fabric,  forming  stripes  or  plaid  effects 
in  the  finished  goods. 

The  selection  of  the  weaves  depends  to  a  great  extent 
upon  the  character  of  the  material.  In  most  fabrics  a. 
smooth  face  is  desired. 


BBBB 
" 


u 

^ggy: 


IBGB 


•••••• 

BBBBB     B 


BDBBBBDB 

^^..^ BBGL1U,  'B, 

•  •   •  K.  ••••••  M 

»  B  BBB  BB  "CT.   H 
BGBUBBBB  B  BBBB  B 
GB  '!  jPf" 


B     BBBB     B 

nannac 


^B_.B.B.JB  uiGBrjBi.B 

B^JBi  «na"i          BoBJBOBU 


*.&.  454. 

VS%%          ........... 

B    B    B   •          BBB   BBB   IBBBUBOQCJ 

DBGBGBOB          BBOBBBGBlBBUBGBaO 
•     B     B     B  B   .BBB^BBlBDBBaUBC 


Fig.  453- 


Fig    456 


For  goods  made  of  woolen  or  felting  material  only 
such  weaves  can  be  combined  as  have  practically  the  same 
number  of  intersections  in  each.  In  woolen  fabrics  the 
parts  woven  with  less  intersections  shrink  quicker  than 
the  other  parts,  causing  a  bagging  of  the  cloth. 


COMBINED    WEAVES 


97 


For  goods  made  of  cotton,  linen,  silk  or  other  non- 
felting  materials,  less  care  need  be  taken  to  select  for  the 
combination,  weaves  having  the  same  number  of  intersec- 
tions, because  an  irregular  shrinkage  of  the  different 
weaves  does  not  occur  in  finishing.  The  irregularities  in 
the  fabric  are  removed  by  sizing,  dressing  and  pressing. 


Fig.  45  i  a 


Fi 


453a- 


Fig.  454a. 


If  several  loosely  woven  threads  alternate  with  others 
more  tightly  woven  a  tight  and  a  loose  stripe  result.  This 
irregularity  of  tension  develops  in  weaving,  causing  much 
breaking  of  the  threads  and  a  rough,  imperfect  fabric. 

The  irregularity  of  the  tension  is  caused  by  a  differ- 
ence in  the  intersections  of  the  threads,  the  warp  threads 
with  the  greater  number  of  intersections  "take  up"  more 
in  length. 


COMBINED    WEAVES 


&PSSSBS38BS& 


,  i.  •    !••••  ii  •    !•    •••    ••!•    •  :•    •    !••••  :r  •   .)• 


::::•,   :•.::•.::  'iSBSpsBKSS U  :::: 

mmmammm\mmommmdm\mmmmmmon\mmmmi          !•••• 


Fig.  459- 


Fig.  460. 


mem 


DDOoaanc 


«•••••• 


•• 

• 


.:::-. 

•  •••• 


Fig.  462. 


•  •••• 


COMBINED    WEAVES 


99 


To  overcome  this  difficulty  separate  warp  beams  are 
sometimes  used  for  each  kind  of  warp.  The  increase  in 
the  number  of  beams  makes  the  weaving  more  difficult, 
increases  the  cost  of  the  goods,  and  is  therefore  avoided 
if  possible. 

Figs.  45  r  to  463  are  examples  of  combination  weaves 
used  for  stripe  effects. 

Figs.  45 la,  4s2a,  453a  and  454a  are  cloths  woven 
with  Figs.  451,  /]  52,  453  and  454  respectively. 


Fig.  4623. 


Fig.  463. 


•  •••••••••  m  mmum  :• 

••••  •  ••••••••••  • 

__  ••  •  ••••  •  '••••  '•  ••• 

smm  m  mmam  m  :••••  :•  •••• 

.  _•  •  •  •••  •  ••••  •  ••••  • 

••••••  •  ••••  •  ••••  •  •• 

•  •••  •  ••••  •  •  •••  •  •••• 

emmm  m  mmrnrn  m  mmmm  •••••• 


•••  •  mmma  r  mmm 


. 
ommmu^m  '••••••    •••••• 

••  •  ••••  •  ••••  •  ••• 

•  ••••  •  ••••  •  )••••  i 

•  ••••  •  '••••  •  ••••  • 

••••  •  ••*•  •  ••••  •  •• 

••"•h««««  •  ••••  m^mmmm 

:••••  •  ••••  •  .mmmm^m 
•  ••  •  ••••  :•  '••••  •  • 

•  •    m  'mamm  :•    ••••)•<)••• 

•  '••••  •  ••»• 

-   • 


Fig.  465- 


Fig.  464- 

Fig.  462a  is  the  cloth  woven  with  Fig.  462. 

The  10  and  5  opposite  the  warp  threads  enclosed  in 
brackets  in  Fig.  461  indicate  that  these  threads  are  to  be 
taken  10  and  5  times  respectively. 

Plaid  effects  are  produced  by  the  combination  of  long 
and  cross  stripes  in  the  same  weave,  Figs.  464  and  465. 


TNIVFR  -T.  x 


MOTIVES  FOR  FIGURED  EFFECTS. 


Figs.   466   to  486   are   motives   for  various   figured 
effects. 


n    • 

DDBDDD 
MaGGB 


aGGBDDDBOODBan 
BBBGBBBGBBBGBBB 
BBOBBBaBBBGBBBLJ 
CBaaaBDDDBDDLjBa 

Fig.  466 


RG! 


GBBGGHGBBC 
UBBGGUBBPC 

BBLJBGCB'--     BGGBBGB 

Fig.  467. 


%..•...•...•... 

GUBBGGBBGGBBGGBB 


JBDaUBGGDBGBGB 

Fig.  469- 


nBoa 


GBi  IGGBCUOBOGGBGD 
BBBGBBBGBBBGBBBH 
GBBBGBBBGBBBGBBB 
aGBGDCBGOGBaGGBCJ 

Fig.  470. 


gg2g|g2ggg2 
SBfflSS 


BaaDBaac 

BBGGBBDt 

aQQBanai 

Fig.  471. 


aBGBnaBoaBaaDBDBG 

GiBBBBaaaBaaGBBBB 
GOGBBBBB 


3SS  :  g§:388 

BGGGBGBBBGBGnGBG 
BBBGBBaijGGBBBGBB  BB 


•••••••*«••••• 


BBBBBGGGBGG 


gs2?p:gG:2ggs2:§gg:2g 

DBGGBGGB  BBBGBBBGBuBBBGBBBGBG 

D.GGGG..r.GG.DGS2:22g    3H22ggs£::5S22sgR2:: 
s:22sgB:§gs:22§    ••••••gng^sgsaayHgsgss    5s"Ss:g"::§"sg:2S§s 

:GBBBGBB        DDBnn»CBGaD»aDB3B«fjBDao«        DOBBarn««a"a«»DDaMa 
IBBBOGGB          gGiBiBBGanigGGiiniggGB        ••••••••••  •••Ji 


••••»••••••»  » 

Fig.  472. 


-  473- 


Fig.  474. 


FOR    FIGURED    EFFECTS 


1O1 


475- 


Fig.  476.  Fig.  477. 


Fig.  478. 


Fig.  479. 


Fig.  480. 


Fig.  481- 


Fig.  482. 


ig-  483- 


'g-  485. 


nofiHBBBBCija 

WBDOQQMlllS 

•       •          •• 


m    .      •       •»• 

•  •  9BBI 


•BB'    C  B 
BBBB 

tmm  BBBB 

•         B*      '   '    • 

:««C;D^BC:CBB 

Fig,  486. 


THE  TEXTILE  WORLD 

is    a  >me    illus  nonthly    magazine  of    over 

pages.        .  is'the  leadin  ication  devoted  to  textiJ 

facturing  interests,  am  __eeognized  in  this  country  and 
abroad  as  the  authorit  ill  matters  pertaining  to  textile 

processes  and  prog-'--  ch  issue  contains  articles  relating 

to  the  processes  i,. cotton,  knitting  and   silk   manu- 

facture, from  autt.  their  respective  lines,  and  describes 

the  late  rovemt.its  in  textile  machinery  coming  on  the 

marke  .<es   a  feature  of   personal  record,  and  has  a. 

most  nronicle  of       11  news,  textile  patents,  etc.      It 

ii  pondence  from  '   m~n,  and  pays  liberally 

for  i  articles.      Its  (^    .  x  nswers  Department 

ar  _ree  of  charge  queries  textile  matters ;  and 

mik  ien  and  racers  who  wish  >  R  or  information  in  re- 
gard to  an1  '  -;es  they  i  .^\  joanter  in  their  work  are 
aided  by  tin.  .  al  suggest  As  not  only  of  the  editorial 
staff,  but  of  f  '?  different  departments,  with  whom  ar- 
rangements are  n  cc  Jtation. 

-    Subscription  p          #2  pei  year  for  United  States,  Canada, 
and  Mexico. 

In  foreign  coun.n.s,  $3  per  year. 

THE   TEXTILE  WORLD  OFFICIAL  DIRECTORY  OF  THE 
TEXTILE    INDUSTRIES 

is  published  annually  in  the  spring.  It  contains  about 
500  pages  and^over  20  textile  maps  showing  the  location  of 
all  the  mills  in  the  United  States  and  Canada.  It  gives  full 
information  about  each  mill, —  officers,  kind  of  goods  made, 
etc. ;  also  lists  of  manufacturers'  selling  agents,  dealers  in  raw 
material,  textile  machinery  and  supplies. 

The  price  of  Directory,  Office  Edition,  $2.50  ;  Travellers' 
Edition,  $2. 

Combination  price  of  Textile  World  one  year  and  Trav- 
ellers' Edition  of  Directory,  $3. 

'     JILD  &  LORD,  Publishers  Boston,  Mass. 


LOAN  DEFT. 


Renew 


are 


TU   18508 


75 


THE  UNIVERSITY  OF  CALIFORNIA  LIBRARY 


